Blair

B
Blair School
of Music
Music at Vanderbilt 248
Classes for the General Student 249
The Degree Program 252
Bachelor of Music Degree Requirements 252
Liberal Arts Core 256
Minor Area and Concentration Requirements 257
Teacher Education 258
3+2 B.Mus./MBA Blair-to-Owen Program 260
Special Programs 261
Academic Regulations 262
Honors 269
Courses 271
Administration and Faculty 285
248 VANDERBILT UNIVERSITY
Music at Vanderbilt
Blair Woodwind Quintet
TheBlairWoodwindQuintetformsthecoreofthewind
departmentatBlair.Establishedin1971,theensemblecon-
certizesregularlythroughouttheUnitedStates.Membersof
thequintetprovideprivateinstruction,coachchambermusic
ensembles,conductwoodwindseminars,andteachorchestral
repertoireclasses.
Blair Brass Quintet
TheBlairBrassQuintetservesasafocalpointforthebrass
facultyatBlair.Itsmembersprovideprivateinstruction,coach
chamberensembles,conductbrassseminars,andteach
orchestralrepertoireclasses.
Blakemore Trio
Foundedin2002,theBlakemoreTrioisBlairsnewestfaculty
ensemble.Itsmembersteachprivately,coachchambermusic,
andholdperformanceclassesatBlair.Thetrioperforms
throughouttheUnitedStates.
Facilities
TheBlairbuildingincorporatesinnovativedevelopmentsin
acousticaldesignandengineering.Itcontainsteachingstudios
andfacultyoffices,state-of-the-artcomputerlearningstations,
classrooms,rehearsalhalls,practicerooms,library,admin-
istrativeoffices,MIDIpianolabswithindividualcomputer
workstations,andthreeconcertvenues.The278-seatSteve
andJudyTurnerRecitalHallthefocalpointoftheoriginal
facility(1980)isthelocusforstudentrecitalsandconcertsand
masterclassesbyfacultymembersandvisitingartistsheldona
regularbasis.Openedinspring2002,the620-seatIngramHall
garneredimmediateacclaimforitssuperbacoustics,itsvisual
beauty,anditsenhancementoftheschoolsabilitytohostand
produceorchestra,opera,andothermajorconcertevents.The
ChoralHall,whichseatssixty,wasupgradedtoarecitalspace
duringsummer2007.Thebuildingstotalsquarefootage,nearly
tripledin2002,is131,000.Buildinghoursare7a.m.to9p.m.
Officehoursare8a.m.to3p.m.
TeAnnePotterWilsonMusicLibraryisadivisionof
theJeanandAlexanderHeardLibrarysystem.Tecollection,
begunin:,,wasmovedfromPeabodyCollegetoitsnew
andpermanenthomeatBlairinthesummerof:8,.Named
tohonorAnnePotterWilsonbytheVanderbiltBoardofTrust
in:8,,the8,ooo-square-footlibraryholdsmorethan,,,ooo
books,scores,soundandvideorecordings,andsubscriptions
tomorethan:,ojournals.Itisequippedwithaseminarroom,
exceptionallisteningandviewingstations,andstudyfacilities.
Accreditation
AllprogramsleadingtotheB.Mus.degreeareaccreditedby
theNationalAssociationofSchoolsofMusic,11230Roger
BaconDrive,Suite21,Reston,VA20190-3248;telephone:
(703)437-0700.
B
LAIRSchoolofMusicservesasthefocalpointat
Vanderbiltforthestudyofmusicasahumanendeavor
andasaperformingart.Theschoolcontributestothe
qualityoflifeattheuniversitythroughconcerts,lectures,and
recitalsbyfaculty,students,andvisitingartists,scholars,and
composers,andthroughcourseofferingsinperformance,
musicliterature/history,composition,andtheory.Inanage
ofincreasingtechnologyandsocialcomplexity,musicoffers
topersonsofallagesavitalmediumfortheexpressionofthe
humanspirit.
TeBlairSchoolhasbeenanintegralpartofNashvilles
musicalenvironmentsinceitsfoundingin:obytheJustin
andValerePotterFoundationthroughabequestofValere
BlairPotter.In:8:theschoolwasmergedwithVanderbilt
followingtheuniversitysdecisiontodevelopanexcellent
programinmusic.StudiesleadingtotheprofessionalBachelor
ofMusicdegreeinperformancewereinitiatedin:8o.
Knowingtheimportanceofabalancededucationinmusic,
BlairSchoolsubsequentlyexpandeditsBachelorofMusic
degreeprogramtoincludemajorsincomposition/theoryand
musicalarts.Temajorincomposition/theoryemphasizes
analyticalskillsaswellasthedevelopmentofstudentscreativ-
ity.Temajorinmusicalartsistheschoolsmostexible
program;itlaysasolidfoundationintheartofmusic,with
equalpreparationinthethreebasicdisciplinesofperformance,
theory,andmusicliterature/history.Temusicalartsmajor
alsoformsthebasisforave-yearprograminteachereduca-
tionoeredcooperativelywithPeabodyCollege.Students
inthiscurriculumcanearntheB.Mus.degreeinfouryears
andtheM.Ed.andteacherlicensureforinstrumental/general
orvocal/generalmusicinthefhyear(JuneMay).AllBlair
degreeprogramsareaccreditedbytheNationalAssociationof
SchoolsofMusic(NASM).
Anon-professional,:-hourliberalartsmusicmajor
makesitpossibleforstudentsoutsidetheBlairSchoolto
choosemusicasasecondmajor.Studentsinotherschools
andcollegesoftheuniversityalsomaypursueaminorin
music,musichistory,ormusicperformance.AndBlairoers
aremarkablevarietyofelectivesforstudentswhowishto
enrichtheirstudieswithcreditinmusiccourses,ensembles,
orperformanceinstruction,ortoselectmusicasanextracur-
ricularactivity.
BlairSchoolofMusicishometointernationallyknown
facultysoloistsandensembles,andBlairsperformers,com-
posers,andmusicologistsareamongthemostrespectedin
theirelds.Teirdedicationtoteachingandalowstudent/fac-
ultyratioprovidestudentsthepersonalattentionthatfosters
maximummusicalgrowthandunderstanding.Teschoolis
committedtoitsgoalofdevelopingstudentswhoareamong
themostarticulate,culturallyaware,andartisticallysensitive
ofanygraduatesinthecountry.
The Faculty Ensembles
Blair String Quartet
Foundedin1967,theBlairStringQuartetisthenucleusofthe
stringdepartment.Itsmembersprovideprivateinstruction
andcoachchambermusicensemblesandperformanceclasses.
ThequartetperformsthroughouttheUnitedStates.
249 Blair School of Music / Music at Vanderbilt
B
ClassesfortheGeneralStudent
TheBlairSchoolofMusicwelcomesthegeneralstudentinto
itsclassesandstudios.Alargenumberofcoursesaredesigned
specificallyfornon-majors.ManyclassesareheldinSarratt
Cinemaandothercentralcampuslocations.Non-majorsmay
alsoparticipateinanyandallmusicmajorcoursesforwhich
theyarequalified.
Awidevarietyofmusiccoursesfulllliberalartscore
requirementsforundergraduatesintheCollegeofArtsand
Science,theSchoolofEngineering,andPeabodyCollege.
Tesearelistedbycoursenumbersineachschools/colleges
sectionofthiscatalog,whererequirementsoutliningArts
andScienceAXLE,Engineeringliberalartscore,orPeabody
liberaleducationcorerequirementsaregiven.Requirements
andthecourseswhichfulllthemdierforeachVanderbilt
school.
Coursesofparticularinteresttothegeneralstudentare:
First-Year Writing Seminars*
MusicandGlobalHealth MUSL113F[W,INT]
MusicandModernism MUSL113F[W,HCA]
ShakespeareandMusic MUSL113F[W,HCA]
Music Composition and Theory
TechniquesofChoral
Composition MUSC223
Mozart MUSC118
MusicTheory(Surveyof) MUSC120A120B
NashvilleNumberSystem,The MUSC104
SongwritingandElementsof
MusicTheory MUSC100
SongwritingII MUSC102
Music Literature and History*
AfricanMusic MUSL171[INT]
AmericanMusic MUSL147[US]
AmericanPopularMusic MUSL149[US]
ArtMusicoftheUnitedStates
after1900 MUSL243[HCA]
Blues,The MUSL131[US]
ChoralMusic(Surveyof) MUSL143[HCA]
Concerto,The MUSL143[HCA]
CountryMusic MUSL132[US]
ExploringtheFilmSoundtrack MUSL264[US]
Introductionto
MusicLiterature MUSL140[HCA]
Jazz(Surveyof) MUSL148[US]
LoveandDeathinMusic MUSL184[HCA]
MusicandtheFallof
Segregation MUSL134[HCA]
MusicCityMuseumsand
Memorabilia MUSL263[HCA]
Music,Gender,andSexuality MUSL201[HCA]
Music,Identity,andDiversity MUSL261[P]
MusicinLatinAmericaand
theCaribbean MUSL230[INT]
MusicoftheSouth MUSL262[US]
Music,theArts,andIdeas MUSL183[HCA]
MusicalTheatreinAmerica MUSL103[HCA]
Opera MUSL221A,B[HCA]
RockMusic(Historyof) MUSL133[HCA]
Symphony,The MUSL144[HCA]
WomenandMusic MUSL200[P]
WomenandRockMusic MUSL233[HCA]
WorldMusic MUSL160[INT]
Other Courses
BuildingCommunitiesthrough
MusicandtheArts MUSO106
CreatingMission-DrivenArts
andSocialProgramming MUSO107
BusinessofMusic,The MUSO100
ComputerRecording
TechnologySeminar MUSO102
MusicInternships MUSO280A,280B,280C
TebracketedlettersindicatecategoriesoftheArtsand
ScienceAXLEcurriculum,whichmayalsobeveriedinthe
ArtsandSciencesectionofthecatalog.Tesedesignations
areasfollows:HumanitiesandtheCreativeArts[HCA];
InternationalCultures[INT];HistoryandCultureofthe
UnitedStates[US];SocialandBehavioralSciences[SBS];and
Perspectives[P].
Composition/Theory, Musicianship, and Keyboard
Harmony
Coursesdesignedforthegeneraluniversitystudent(MUSC
100,102,104,118,120A120B)focusontherecognitionof
stylisticandstructuralpatterns.Thisskillenhancesthenon-
technicallistenersawarenessbothanalyticalandaffective
ofcreativeexpressioninmusic.
Temusictheoryandmusicianshipsequence(MUSC:,o-
:,oE,:,:-:,:E,:,:-:,:E,:,,-:,,E)introducesseriousstudents
ofmusic,whethermajorsornot,totheprinciplesofharmony,
voice-leading,counterpoint,structure,andanalytical/compo-
sitionaltechniquesinavarietyofhistoricalstyles;further,it
fosterstheall-importantskillsofhearingtonalrelationships
withfacilityandofcommunicatingorallythestructuresand
materialsofmusic.
Ensembles
TheBlairSchoolofMusicsponsorsseveralmajorperforming
ensembles,includingtheVanderbiltSymphonicChoir,Cham-
berChoir,theinstrumentalensembles(encompassingPercus-
sionEnsemble,Orchestra,WindEnsemble,andcontemporary
ensembles),OperaTheatre,andJazzBand.Othernon-western
andvernacularensembles,suchasAfricanPerformingEnsem-
ble,theSteelDrum/PanEnsemble,andFiddleEnsemble,are
alsoavailableforcredit.Alargenumberofsmallerensembles
andchambermusicgroupsalsoexist,offeringstudentsawide
varietyofexperiences.
Auditions.Auditionsforthemajorperformingensembles
areheldatthebeginningofeachsemester.Auditioninforma-
tioncanbefoundontheBlairSchoolofMusicwebsite.Students
mustauditioneverysemesterunlessexcused.Assignmentis
atthediscretionofthedirector.Openingsatmid-yeararenot
guaranteed.Studentsneedtheapprovaloftheappropriate
facultychambermusiccoordinatorbeforeenrollinginchamber
music;ifparticipationhasnotbeendiscussedwiththecoach,
studentsmayregistertentativelyforthetobeassignedsection
ofchambermusic.Openingsarenotguaranteed.
Credit.Studentsmayregisterforcoursecredit.Auditstatus
orregistrationforzerohoursmaybepossiblewithpermission
ofthedirector.
Music Literature and History
Coursesintheliteratureandhistoryofmusicaredesignedto
developstudentsunderstandingofmusicwithintheprevail-
ingsocialandculturalcontexts;toestablishaframeworkfor
criticalevaluationofmusicandmusicalpractices;toachievea
workingfamiliaritywithrecognized,oratleastrepresentative,
masterworksofmusicalliterature;todevelopstudentsability
tospeakarticulatelyaboutthestylesandsubstanceofmusic;
andtoequipstudentswithanalyticandliteraryskillsandwith
aworkingknowledgeofthebibliographyofmusic.
Performance
Performanceinstructioninindividualorgroupsettingsis
availableforuniversitycreditforanadditionalfee.Private
instructionisofferedinallorchestralinstrumentsandinpiano,
organ,guitar,dulcimer,mandolin,saxophone,euphonium,
fiddle,banjo,steeldrum/pan,andvoice.Creditisflexible,
butbeginningstudentsmayregisterforonly1credithour.
Studentscontractwiththeprivateinstructorregardinglesson
lengthandpracticehoursandcanearneither1or2credit
hourseachsemester.StudentsintheSchoolofEngineering
cancount3hoursofperformanceinstruction(orensembles)
towardsliberalartscorerequirements.Forothers,performance
iselectivecredit.Groupinstructionisofferedinpiano,guitar,
fiddle,steelpan/drum,andpercussion;groupshavemaximum
ofsixstudentsandearn1credithour.
Group Performance Instruction: Non-Major
Groupinstructionisdesignedforbeginningstudentswith
emphasisonbasictechnique,rhythm,tone,andmusical
interpretation.Groupsarelimitedtosixstudents.
Registration.Newstudentsmustinterviewwiththeappro-
priatefacultymemberbeforenalizingregistration.Instruc-
tionsaregivenintheonlineregistrationsystem.
Fees.Musicfeesareinadditiontotuitionchargesandare
notrefundableaferthechangeperiod.Tecostforgroup
instructionisso,,.oopersemesterforone,o-minutelesson
weekly.(Fees,setannuallybytheBoardofTrust,aresubjectto
reviewandchangewithoutfurthernotice.)
Individual Performance Instruction
Individualinstructionisfocusedontheartandpracticeofan
instrumentorvoice,withemphasisontonequality,technique,
rhythm,interpretation,andliterature.
Blairoerscollegiate-levelinstructionthrough:oo-and
:oo-leveloerings.StudentsfromoutsideoftheB.Mus.
programenrollthrough:oo-levelstudy.:oo-levelcoursesare
openonlytoB.Mus.studentsintheirjuniorandsenioryear.
Registration.Newstudentsmustinterviewwiththeappro-
priatefacultymemberbeforenalizingregistration.Informa-
tionisavailableinYES.Enrollmentsarelimited.
Credit. Universitystudentsenrolledinindividualinstruc-
tionmayearn:or:credithoursdependingonlessonlength
andpracticecommitment.
30-minute or 45-minute lessons with 5 hours minimum
weeklypracticeearn:credithour.
60-minute lessons with 10 hours minimum weekly
practiceearn:credithours.
Beginnersmaynotregisterformorethan:hourofcredit.
Fees.Musicfeesarechargedinadditiontoregulartuition,
andarenotrefundableaferthechangeperiod.Students
receivingneed-basednancialaidmayrequestthatmusicfees
beconsideredintheirnancialaidpackage.Studentswith
adeclaredsecondmajororminorinmusicwillbecharged
approximatelyone-halfthemusicperformanceinstructionfee.
ForcoursesnumberedMUSP:,::8,feespersemesterareas
follows:
Elective Credit / 2nd Majors and
NonBlair Students Minors
One 30-minute lesson weekly $ 870 $435
One 45-minute lesson weekly $1,225 $610
One 60-minute lesson weekly $1,535 $770
Fees,setannuallybytheBoardofTrust,aresubjectto
reviewandchangewithoutfurthernotice.
Music Minors
Studentsmayelectoneofthreeminors:music,musichistory,
ormusicperformance.Formaladmissiontothegeneralminor,
theperformanceminor,orthesecondmajoriscontingent
uponaperformanceauditionthatmeetsdepartmental
standardsfortheintermediateoradvancedlevelofstudy.Fol-
lowinginterviewswiththeappropriateperformancedepart-
ment,studentsplantheirstudieswithBlairadvisers.Contact
informationanddeclarationpaperworkareavailableonline:
blair.vanderbilt.edu. Studentsmustcompleteallrequirements
forthemusicminorswithstandardgradingbasis(thatis,not
Pass/Fail).
Music Minor. 24 or 25 hours.
Music Theory. or hours.
MUSC::oA::oB;or:,o-:,oEand:,:-:,:E
Music Literature/History. hours.
MUSL:::Wor:o
Onecoursechosenfrom:MUSC:,MUSL::,F-o:
(ShakespeareandMusic),:,,:,:,,:::-:,8,::,:,,
:,:,,:,o,and,withapprovalofdepartmentchair,
:.
Onecoursechosenfrom:MUSL::,F-o:(MusicandGlobal
Health),::,F-o,(MusicandModernism),:oo,:,:,:oo,:o:,
:::-:,8,:,,:,o,:o:,and:.
Onecoursechosenfrom:MUSC:oranyMUSLcourse
Performance. hours.
Individualperformanceinstructioninasingleinstrument
foratleastsemesters(anyorchestralinstrument,
piano,organ,guitar,saxophone,euphonium,orvoice).
Studentsmustmeetminimumstandardsandobtainthe
approvaloftheappropriatedepartmentchair(brass/
percussion,guitar/harp,keyboard,strings,voice,wood-
winds).DeclarationformsareavailableintheBlair
officeandonlineatblair.vanderbilt.edu/academics.
Ensemble. hours ( different semesters).
Participationfortwosemesters(orfourmodules)inan
appropriateperformingensemble,afterconsultation
withtheminoradviser.
Music History Minor. 18 or 19 hours.
251
B
Blair School of Music / Music at Vanderbilt
MUSL:::W,:::,onecoursefrom:::-:,8,and:,.
*Students who have completed MUSL 140 must substitute another course for
MUSL 121W, selected from MUSL 103, 143, 144, 145, 147, 148, 149, 151, 152,
153, 160, 171, 183, 200, 201, 221-238, 245, 250, 253, 261, 262, 264, 265, or 294.
Music Performance Minor. 25 or 26 hours.
MUSL:::Wor:o
OnecoursechosenfromMUSL:::-:,8
Performance. hours.
Individualinstructioninasingleinstrumentforatleast
osemesters(anyorchestralinstrument,piano,organ,
guitar,saxophone,euphonium,orvoice.)
Studentsmustmeetminimumperformancestandardsfor
admissiontotheprogram,earningatotalof::hours.
Repertoireinformationanddeclarationformsareavail-
ableintheBlairofficeandonlineatblair.vanderbilt.
edu/academics.
Ensemble. hours (two different semesters).
appropriateperformingensemble,asassignedfollowing
audition.String,woodwind,brass,percussion,andharp
studentsmustauditionforMUSE:o:,Instrumental
Ensemble.Guitarandvoicestudentsmustaudition
forMUSE:o:A,SymphonicChoir.Keyboardstudents
mustparticipateasapianistforonesemesterinMUSE
:o:,:o:B,:o:D,:o:D,:::,:::,or::,;orin:ooA,:o:,
:o:A,:o:F,:o:G,:o:A,or::o,contingentuponpermis-
sionoftheensembleinstructorandthepianoinstructor.
Music as a Second Major
Blairoffersanon-professionalliberalartsmajorinmusicthat
requiresaminimumof31hours.DesignedjointlybyBlairand
theCollegeofArtsandScience,itisalsoavailabletoPeabody
andEngineeringstudentsasasecondmajor.Followinginter-
viewswiththeappropriateperformancedepartment,students
plantheirstudieswithBlairadviserProfessorCarlSmith,coor-
dinatoroftheprogram.Contactinformationanddeclaration
paperworkareavailableonline:blair.vanderbilt.edu. Students
mustcompleteallrequirementsforthemusicasasecond
majorwithstandardgradingbasis(thatis,notPass/Fail).
Music Major (Second Major). 31 hours.
Music Theory. hours.
MUSC:,o-:,oE,:,:-:,:E,:,:-:,:E,:,,E.

MUSL:::W,:::,:,.
*Students who have completed MUSL 140 must take an additional course instead
of MUSL 121W, selected from MUSL 221-238.
Individual Performance Instruction. hours.
Sixsemestersofstudyinanyorchestralinstrument,piano,
organ,guitar,saxophone,euphonium,orvoice.
Studentsmustmeetminimumperformancestandardsfor
admissiontotheprogram,withtherequiredohoursat
alevelbeyondthatminimum.Representativerepertoire
listsreflectingminimumperformancestandardsand
requireddeclarationformsareavailableonlineatblair.
vanderbilt.edu/academicsorfromeithertheBlairoffice
orProfessorCarlSmith,coordinatoroftheprogram.
Ensemble. hours (two different semesters).
appropriateperformingensemble,asassignedfollowing
audition.String,woodwind,brass,percussion,andharp
studentsmustauditionforMUSE:o:,Instrumental
Ensemble.Guitarandvoicestudentsmustaudition
forMUSE:o:A,SymphonicChoir.Keyboardstudents
mustparticipateasapianistforonesemesterinMUSE
:o:,:o:B,:o:D,:o:D,:::,:::,or::,;orin:ooA,:o:,
:o:A,:o:F,:o:G,:o:A,or::o,contingentuponpermis-
sionoftheensembleinstructorandthepianoinstructor.
Elective. hours.
Onecourseinmusictheory,literature/history,orconduct-
ing,chosenfromMUSC:,,,::,,::,::,,:8,:,:,:o:,
:;anyMUSL;MUSO:o:,:o:.
The Degree Program
T
hebachelorofmusicdegreeprogramincludesfour
differentmajors:performance,composition/theory,
musicalarts,andthemusicalarts/teachereducation
track.Theperformancemajorisavailableinanyorchestral
instrument,piano,organ,classicalguitar,saxophone,eupho-
nium,andvoice.Thecomposition/theorymajoremphasizes
boththecreationandanalysisofmusic.Themusicalartsmajor
providesasolidfoundationintheartofmusicandincludes
equalpreparationinthethreebasicdisciplinestheory,
literature/history,andperformance.Students,exceptingmusi-
calarts/teachereducationmajors,maycompleteanoptional
concentrationincollaborativearts,composition,literature/
history,pedagogy,ortheory.Themusicalarts/teachereduca-
tionprogram,afive-yearcurriculumjointlydevelopedwith
PeabodyCollege,isforstudentsinterestedinearningthe
masterofeducationdegreeandteacherlicensureinaddition
tothebachelorofmusicdegree.ThroughajointB.Mus./MBA
program,interestedstudentsinthemusicalartsmajorhavean
opportunitytocompressboththebachelorofmusicattheBlair
SchoolofMusicandthemasterofbusinessadministrationat
theOwenGraduateSchoolofManagementintotensemesters
inresidence.Applicationforthisprogramismadeearlyinthe
fallsemesterofthejunioryear.
BachelorofMusicDegreeRequirements
Allbachelorofmusicdegreecandidatescompleteaprogram
designedtoensureanintense,yetbroadly-based,under-
standingofthedisciplineofmusic,focusedontheskillsand
knowledgestudentswillneedtosucceedasinformedmusi-
ciansofthetwenty-firstcentury.Eachstudentmustcomplete
126credithours,including80hoursinmusic.Themusiccore
(41credithoursminimum)includesmusictheory,musician-
ship,keyboardharmony,musicliterature,conducting,and
ensemble.Eachmajorhasadditionalspecificrequirements,
includingperformanceinstructionandothermusiccourses
(tofulfill80hours).Liberalartscorerequirements(minimum
of30hours)includeEnglish,thehumanities,courseschosen
fromhistoryorsocialscience,mathematicsornaturalscience,
andacademicelectives.Studentsmaytakefreeelectivesto
total126hours.SamplecurriculumplansareintheBlair
Student Handbookatblair.vanderbilt.edu/academics.
Requirements by Major Area
BRASS PERFORMANCE
MUSIC THEORY, MUSICIANSHIP, AND KEYBOARD HARMONY. 19 hours
MUSC 170-170E, 171-171E, 172-172E, 173-173E
MUSC 131A-131B and 132A-132B
MUSIC LITERATURE/HISTORY. 12 hours
MUSL 121W, 122, one course chosen from 221-238, 239
CONDUCTING. 2 hours
MUSO 261
ENSEMBLE. 10 hours minimum
MUSE 101 (every semester in residence); MUSE 206, 221, 225 or
226 (four semesters, 1/2 credit minimum each semester, taken both
semesters of freshman year, with two additional courses taken during
career). Assignment to ensembles is at the discretion of the direc-
tors. During study abroad, students may waive participation in an
ensemble of choice.
INDIVIDUAL PERFORMANCE INSTRUCTION. 32 hours, 8 semesters
(every semester in residence)
MUSR 176-179, 190; 276-279; 290
RECITAL ATTENDANCE. No credit
MUSO 108 (every semester in residence except penultimate or final
semester)
PERFORMANCE. MUSO 110A, 110B, 111A, or 111B (every semester in
residence); MUSR 295, 299
OTHER MUSIC. MUSO 152, 252
LIBERAL ARTS. 30 hours (see full requirements below)
FREE ELECTIVES. To complete 126 hours
COMPOSITION/THEORY
MUSC 170-170E, 171-171E, 172-172E, 173-173E
MUSC 131A-131B and 132A-132B
CONDUCTING. 2 hours
MUSO 261
ENSEMBLE. 8 hours minimum (every semester and every module in
residence)
Eight semesters selected with the advisers approval. Assignment to
ensembles is at the discretion of the directors. During study abroad,
students may waive participation in an ensemble of choice.
3 semesters in any orchestral instrument, piano, organ, harpsichord,
guitar, saxophone, euphonium, or voice; 2 semesters chosen from
any orchestral instrument, piano, organ, harpsichord, guitar, saxo-
phone, euphonium, or voice or MUST 101-104; 1 semester chosen
from MUSP 171-198 or MUSO 133.
semester)
COMPOSITION/THEORY. MUSC 141, 142, 143, 144, 230, 241A241D
Students rotate instructors as assigned for MUSC 141-144 to gain
experience with 4 different members of the department. Students
may select one or more instructors of choice in their junior and senior
years.
OTHER MUSIC. MUSO 111C (every semester in residence); MUSC 225,
228 (or 229, if pre-2011), 299
MUSIC ELECTIVES. To complete minimum of 80 hours in music
LIBERAL ARTS. Must include one year of a foreign language, normally
French, German, or Italian. Another language appropriate to the
students musical pursuits may be chosen with approval of composi-
tion/ theory department. Two (2) courses chosen from: 200-level art
history, 200-level English, 200-level philosophy; a total of 33 hours,
rather than 30, in liberal arts. (see full requirements below)
253
B
GUITAR PERFORMANCE
MUSC 170-170E, 171-171E, 172-172E, 173-173E
MUSC 131A-131B and 132A-132B
CONDUCTING. 2 hours
MUSO 261
residence)
MUSE 100A, 101A, or 201A (two semesters or four modules), 204
(two semesters), and 201D, 204, or 221 (four semesters). Students
must audition for symphonic choir each semester until requirements
are fulfilled. Assignment to ensembles is at the discretion of the direc-
ensemble of choice.
MUSR 188; 288
semester)
PERFORMANCE. MUSO 109E (every semester in residence), MUSR
295, 299
HARP PERFORMANCE
MUSC 170-170E, 171-171E, 172-172E, 173-173E
MUSC 131A-131B and 132A-132B
CONDUCTING. 2 hours
MUSO 261
MUSE 101 (every semester in residence); MUSE 209 or 221 (four
semesters, 1/2 credit minimum each semester, taken both semesters
of freshman year, with two additional courses taken during career).
Assignment to ensembles is at the discretion of the directors. During
study abroad, students may waive participation in an ensemble of
choice.
MUSR 181; 281
semester)
PERFORMANCE. MUSR 295, 299
OTHER MUSIC. MUSO 254a
MUSICAL ARTS
MUSC 170-170E, 171-171E, 172-172E, 173-173E
MUSC 131A-131B and 132A-132B (or 133A-133B)
CONDUCTING. 2 hours
MUSO 261
ENSEMBLE. 8-10 hours (every semester and every module in residence)
Auditions for major ensembles are required each semester until re-
quirements are fulfilled. Assignment to ensembles is at the discretion
of the directors. During study abroad, students may waive participa-
tion in an ensemble of choice.
Strings, woodwinds, brass, harp, percussion(10 hours mini-
mum) Five semesters MUSE 101 (including four semesters of MUSE
206, 207, 209, 210, 215, 221, 223, 224, 225, or 226, credit mini-
mum each semester, taken both semesters of freshman year, with
two additional courses taken during career); and three semesters
ensemble of choice.
Guitar(8 hours) Two semesters MUSE 100A, 101A, or 201A,
two semesters 204, one semester 100A, 101A, 201A, 201D, 204,
or 221, and three semesters ensemble of choice.
Organ(8 hours) Three semesters of conducted choral en-
semble, one semester of MUSE 102, one semester of 201B, one
semester of 222, and two semesters ensemble of choice.
Piano(8 hours) One semester chosen from MUSE 100A,
101A, 201A, 101, 101F, or other approved conducted choir; one
semester of 102; three semesters of 201B, 201D, 221, 222, or 223;
three semesters ensemble of choice with advisers approval.
Voice(8 hours) Eight semesters MUSE 101A or 201A; during
fall module B, choice of MUSE 100A or 101F or (if demonstrated
schedule conflict exists) 201D.
semester)
COMPOSITION/THEORY. MUSC 223, 224, 225, 226, 227, 230, 248,
251, 261, 280, or 294 (2-3 hours)
LITERATURE/HISTORY. 9 hours MUSL courses in addition to the MUSL
core courses, at least 6 of which are chosen from MUSL 103, 115F,
147, 171, 183, 200, 201, 221-238, 245, 247, 250, 252, 253, 261,
262, 289, 294, 298, 299AB
PERFORMANCE. Performance class every semester in residence if
offered (MUSO 109A, 109B, 109C, 109D, 109E, 109F, 109G, 109L,
110A, 110B, 110D, 110E, 110F, 110G, 111A, 111B)
MUSIC ELECTIVES. To complete a minimum of 80 hours in music.
Blair School of Music / The Degree Program
MUSICAL ARTS/TEACHER EDUCATION, INSTRUMENTAL/GENERAL
MUSC 170-170E, 171-171E, 172-172E, 173-173E
CONDUCTING. 2 hours
MUSO 261
residence) Instrumental ensemble and co-requisite chamber music
are required both semesters of freshman year, and a total of six
semesters of conducted ensemble (chosen from MUSE 100A, 101,
101A, or 201A) and two semesters of small ensemble is required.
Instrumentalists must have experience in orchestra, wind ensemble,
jazz ensemble (as appropriate), and chamber music, with ensemble
enrollment required every semester and every module in residence.
Pianists must be accepted in MUSE 101, 101A, or 201A by the
beginning of the second semester. During study abroad, a student
could choose to waive an ensemble of choice. Auditions for major
ensembles are required each semester until requirements are fulfilled.
Assignment to ensembles is at the discretion of the directors.
semester)
COMPOSITION/THEORY. MUSC 224, 230
LITERATURE/HISTORY. MUSL 147; choice of MUSL 171, 200, 201,
250, or 261; choice of MUSL 103, 183, or 221-238.
PERFORMANCE. Performance class on primary instrument (except
harp) every semester. Secondary instrument(s) three semesters (may
include Intro to Guitar MUSP 104A or Classroom Instruments MUST
105, but no more than 1 semester in the area of the major instru-
ment; may include voice). Secondary Instrument Lab MUST 107 one
semester. Child and Adolescent Voices MUST 106. Senior Recital
MUSR 299.
OTHER MUSIC. Instrumental Conducting MUSO 262.
Note: Conducting study must include two different professors.
TEACHING. Class Instruments MUST 101, 102, 103, 104. Practica in
Music Teaching MUST 250A, 250B, 250C. Two seminars chosen
from MUST 211-216.
LIBERAL ARTS. 30 hours (and 9 hours listed above in Literature/History)
English/Writing: 6 hours, including MUSL 121W and choice of AP/
IB English credit, any ENGL, or any writing course (any W in the English
language, any 115F, or ENGL 100; must be from outside of music).
Humanities: 6 hours, including MUSL 122 and 3 hours in art histo-
ry, humanities, language, philosophy, or religious studies. (6 additional
hours of humanities credit are counted above in Literature/History.)
History and Social Science: 6 hours, including 3 hours Ameri-
can History and 3 hours in a social science discipline other than
history chosen from Anthropology, Economics, Political Science or
Sociology. (3 additional hours of history and social science credit
are counted above in Literature/History.)
Mathematics and Natural Science: 6 or 7 hours, including 3
hours math, chosen from statistics (Econ 150, Math 127ab, Math
180, Psy 2101 [Peabody]) or calculus (Math 140-179); and 3 or 4
hours any science course with a lab.
Academic Electives: 6 hours, specifically Education 1020 and
Special Education 1010. (see full requirements below)
MUSICAL ARTS/TEACHER EDUCATION, VOCAL/GENERAL
MUSC 170-170E, 171-171E, 172-172E, 173-173E
CONDUCTING. 2 hours
MUSO 261
residence) 6 semesters large ensemble (MUSE 100A, 101, 101A, 201A)
and 2 semesters small ensemble. Pianists, vocalists, and guitarists must
have experience accompanying. All students must have ensemble ex-
perience on their secondary instrument. Auditions for major ensembles
are required each semester until requirements are fulfilled. Assignment
to ensembles is at the discretion of the directors. During study abroad,
semester)
COMPOSITION/THEORY. MUSC 230 and choice of 223 or 224
LITERATURE/HISTORY. MUSL 147; choice of MUSL 171, 200, 201,
250, or 261; choice of MUSL 103, 183, or 221-238.
PERFORMANCE. Performance class on primary instrument every
semester if offered. Secondary instrument 4 semesters (voice for pia-
nists and organists, piano for singers, voice or piano for guitarists or
other instrumentalists). Child and Adolescent Voices MUST 106 (sing-
ers substitute Diction: English and Italian MUSO 159). Intro to Guitar,
MUSP 104A (guitar majors exempt). Senior Recital MUSR 299
OTHER MUSIC. Choral Conducting MUSO 263
TEACHING. Teaching: Intro to Classroom Instruments MUST 105;
Practica in Music Teaching MUST 250A, 250B, 250C. Two seminars
chosen from MUST 211-216.
LIBERAL ARTS. 30 hours (and 9 hours listed above in Literature/History)
English/Writing: 6 hours, including MUSL 121W and choice of
AP/IB English credit, any ENGL, or any writing course (any W in the
English language, any 115F, or ENGL 100; must be from outside of
music).
Humanities: 6 hours, including MUSL 122 and 3 hours in art his-
tory, humanities, language, philosophy, or religious studies. (6 ad-
ditional hours of humanities credit are counted above in Literature/
History.)
History and Social Science: 6 hours, including 3 hours Ameri-
can History and 3 hours in a social science discipline other than
history chosen from Anthropology, Economics, Political Science or
Sociology. (3 additional hours of history and social science credit
are counted above in Literature/History.)
Mathematics and Natural Science: 6 or 7 hours, including 3
hours math, chosen from statistics (Econ 150, Math 127ab, Math
180, Psy 2101 [Peabody]) or calculus (Math 140-179); and 3 or 4
hours any science course with a lab.
Academic Electives: 6 hours, specifically Education 1020 and
Special Education 1010. (see full requirements below)
ORGAN PERFORMANCE
MUSC 170-170E, 171-171E, 172-172E, 173-173E
255 Blair School of Music / The Degree Program
B
CONDUCTING. 2 hours
MUSO 261
residence) MUSE 100A, 101A, or 201A (four semesters); 201B (one
semester); 201B, 201D, 221 or 222 (one semester); and ensemble of
choice (two semesters). Assignment to ensembles is at the discretion
of the directors. During study abroad, students may waive participa-
tion in an ensemble of choice.
MUSR 187; 287
semester)
PERFORMANCE. MUSR 295, 299
PERCUSSION PERFORMANCE
MUSC 170-170E, 171-171E, 172-172E, 173-173E
CONDUCTING. 2 hours
MUSO 261
MUSE 101 (every semester in residence); MUSE 210, 215, or 221
(four semesters, 1/2 credit minimum each semester, taken both
ensemble of choice.
MUSR 180; 280
semester)
PERFORMANCE. MUSO 110G (every semester in residence), MUSR
295, 299
OTHER MUSIC. MUSO 153, 253a or 253b
PIANO PERFORMANCE
MUSC 170-170E, 171-171E, 172-172E, 173-173E
MUSC 133A-133B
CONDUCTING. 2 hours
MUSO 261
residence) MUSE 102 (one semester), 201B (one semester), 222
(one semester), conducted ensemble 100A, 101A, 201A, 101, 101F,
or other approved conducted choir (one semester), and choice of
100A, 101, 101A, 101F, 131, 201A, 201B, 201D, 221, 222, or 223
(four semesters). Participation in 101 or 101F is contingent upon
approval of ensemble conductor and piano instructor. Assignment to
ensembles is at the discretion of the directors. During study abroad,
MUSR 186; 286
semester)
PERFORMANCE. MUSO 109D (every semester in residence), MUSR
295, 299
OTHER MUSIC. MUSO 256a, 256b, 266
LIBERAL ARTS CORE. 30 hours (see full requirements below)
STRING PERFORMANCE
MUSC 170-170E, 171-171E, 172-172E, 173-173E
CONDUCTING. 2 hours
MUSO 261
career). All students except double bass majors must have experi-
ence in string quartet (MUSE 224). Assignment to ensembles is at the
discretion of the directors. During study abroad, students may waive
participation in an ensemble of choice.
MUSR 182-185; 282-285
semester)
PERFORMANCE. MUSO 109B, 109G, 109C, or 109L (every semester in
OTHER MUSIC. MUSO 254a
VOICE PERFORMANCE
MUSC 170-170E, 171-171E, 172-172E, 173-173E
CONDUCTING. 2 hours
MUSO 261
residence) Eight semesters MUSE 101A or 201A; during fall module
B, choice of MUSE 100A or 101F or (if demonstrated schedule
conflict exists) 201D. Assignment to ensembles is at the discretion of
the directors. During study abroad, students may waive participation
in an ensemble of choice.
MUSR 189; 289
semester)
PERFORMANCE. MUSP 186 (two semesters); MUSO 109F (every
semester in residence),
MUSR 295, 299
OTHER MUSIC. MUSO 159, 159c, 159d, 259, 269
LIBERAL ARTS. 30 hours, including 6-10 hours (two semesters) chosen
from French, German, and Italian (see full requirements below)
WOODWIND PERFORMANCE
MUSC 170-170E, 171-171E, 172-172E, 173-173E
CONDUCTING. 2 hours
MUSO 261
ensemble of choice.
MUSR 171-175; 271-275
semester)
PERFORMANCE. MUSO 109A, 110D, 110E, or 110L (every semester in
OTHER MUSIC. MUSO 251
LIBERAL ARTS CORE. 30 hours (see full requirements below)
LiberalArtsCore
Theliberalartscoreaffordsmusicstudentstheopportunityto
developabroad-basedunderstandingofintellectualendeavors
andmethodsinavarietyofdisciplines,toexploretheinter-
connectednessofmusic,arts,andotherhumanisticpursuits,
andtoarticulatetheirthinkinginclearandeffectivelanguage.
Thecurriculum,whichprovidesmaximumflexibilityfor
eachstudent,requiresaminimumof30hours(33hours
forcomposition/theorymajors),satisfiedthroughrequired
categoriesasnotedbelow.Studentselectingasecondmajor
outsideofmusiccompleteonlytheBlairliberalartscore;
theyarenotexpectedtofulfillthecorerequirements(suchas
AXLE)ofanotherVanderbiltschoolorcollege.Hoursearned
towardtheBlairliberalartscoremayalsobecountedtoward
asecondmajororminor,ifappropriate.Studentsadmitted
withadeficiencyrelativetohighschoolcreditsmustplantheir
liberalartsworktoovercomethedeficiency.099coursesdo
notcountforliberalartscorecredit.
English/writing (6 hours)
Students must complete writing course MUSL 121W during the first year.
A second English/writing course* of at least three credit hours, chosen
from:
Advanced Placement or International Baccalaureate credits in
English/ Writing (consult the chapter on Admission for current policy)
First year writing seminars (115F) in any discipline
Writing courses in the English language in any discipline, desig-
nated by W in the course number.
English: all courses
Communication Studies: 100, 101
For musical arts/teacher education majors, an English/writing course
outside of music is required.
*Students with a score of 1500 on the Writing and Critical Reading por-
tions of the SAT with a minimum score of 760 in the Writing portion
may exempt the second English/writing course, substituting 3 hours
of any academic elective.
Humanities (9 hours)
HUMANITIES REQUIREMENTS
MUSL 122. Students should complete this required course during the
first year.
Six additional hours of humanities electives (listed below)
For composition/theory majors, 15 hours minimum, including MUSL 122:
one year of French, German, or Italian; and 6 hours chosen from
200-level art history, 200-level English, and 200-level philosophy.
For musical arts/teacher education majors, 6 hours are required, includ-
ing MUSL 122 and 3 hours in art history, humanities, language, phi-
losophy, or religious studies. (6 additional hours of humanities credit
are counted in the Music Literature/History category of the major area
requirements, above.)
For vocal performance majors, 9-13 hours: MUSL 122 and 6-10 hours
(two semesters) chosen from French, German, and Italian.
HUMANITIES ELECTIVES
African American and Diaspora Studies: 150 and all HCA-designated
courses
Anthropology: all HCA-designated courses
Arabic: all courses
Asian Studies: 200W, 211, 212, 218, 219, 220, 225, 226
Catalan: all courses
Chinese: all courses
Classics: all, except SBS-designated courses
Comparative Literature: all courses
English: all courses
European Studies: all HCA-designated courses
Film Studies: all courses except W courses
French: all courses
B
German: all courses
Greek: all courses
Hebrew: all courses
History of Art: all courses (art studio courses excluded)
Humanities: all courses
Italian: all courses
Japanese: all courses
Jewish Studies: all HCA- and US-designated courses
Latin: all courses
Medicine, Health, and Society: all HCA-designated courses
Music Literature/History: 103, 115F-02, 115F-03, (Music and Modernism;
Shakespeare and Music), 183, 200, 278
Philosophy: all courses except 202
Portuguese: all courses
Religious Studies or Divinity School: all courses
Russian: all courses
Spanish: all courses
Theatre: all courses offered for AXLE credit
Womens and Gender Studies: all HCA- and US-designated courses,
239, 248
History, Social Science (3 hours)
For musical arts/teacher education majors, 6 hours History and Social
Science are required: 3 hours American History chosen from HIST
115F-02, 115F-16, 139, 141, 142,143, 144, 169, 173, 174, 181, 258,
259, 260, 261, 262, 263, 264, 265, 268, 269, 270, 271, 275a and AP
credit in American History; and 3 hours in a social science discipline
other than history chosen from Anthropology, Economics, Political
Science or Sociology. (3 additional hours of history and social science
credit are counted in the Music Literature/History category of the
major area requirements, above.)
HISTORY
Classics: only SBS-designated courses
History: all courses
Music Literature/History: 115F-01 (Music and Global Health) 147, 171,
250, 261
SOCIAL SCIENCE
African American and Diaspora Studies: all courses except 150 and
HCA-designated
Anthropology: all courses except HCA-designated
Asian Studies: 230, 236, 240
Communication Studies: all AXLE courses except 100 and 101
Economics: all courses offered for AXLE credit
European Studies: all courses except HCA-designated
Human and Organizational Development (Peabody): all 3-hour courses
except 1150 and practica
Interdisciplinary Studies: 201
Jewish Studies: all SBS- , INT- , and P-designated courses
Latin American Studies: all AXLE courses
Medicine, Health, and Society: all P-designated courses and 237, 238,
245, 246
Music: MUSO 161
Political Science: all courses
Psychology (A&S): all courses except MNS-designated
Psychology and Human Development (Peabody): all 3-hour courses from
1200-2700 inclusive
Sociology: all courses
Womens and Gender Studies: all courses except HCA- and
US-designated and 239, 248
Mathematics, Natural Science (3 hours)
Students who score below 520 on the SAT Reasoning Test Math
Subtest or below 20 on ACT Math Subtest should take MATH 127a or
133. For musical arts/teacher education majors, 6 or 7 hours, including
statistics (MATH 127a or b, MATH 180, or Psychology 2101 [Peabody])
or calculus (MATH 140-179); and a science course with a lab.
MATHEMATICS
Mathematics: all courses
Philosophy: 202
Psychology (Peabody): 2101
NATURAL SCIENCE
Astronomy: all MNS-designated courses, including accompanying labs
Biological Sciences: all AXLE courses, with corequisite labs
Chemistry: all AXLE courses, with corequisite labs
Earth and Environmental Sciences (Geology): all MNS-designated
courses
Neuroscience: all MNS-designated courses
Physics: all MNS-designated courses, including accompanying labs
Psychology: all MNS-designated courses
Academic Electives (9 hours)
For composition/theory majors, 26 hours, to complete 33 hours in
liberal arts.
For musical arts/teacher education majors, 6 hours, specifically Educa-
tion 1020 and Special Education 1010.
For vocal performance majors, 5-9 hours to total 30 hours in liberal arts.
Academic electives, drawn from courses earning 3 or more credits, may
include:
Any course listed in the Liberal Arts Core
Any non-music course in the disciplines listed in the Liberal Arts
Core, excluding art studio and theatre
Non-music courses in American studies, computer science, en-
gineering science, European studies, financial economics, any
language, Latin American studies, managerial studies, human and
organizational development, psychology and human development
(Peabody)
Any course in the Divinity School
Practicums and internships may not count as academic electives.
Free electives (sufficient to complete 126 hours)
Any course in any Vanderbilt school.
MinorAreaandConcentration
Requirements
Concentrationsandtheminorinasecondinstrumentare
opentobachelorofmusicdegreestudents.HonorsinMusic
HistoryandLiteratureisopentoallundergraduates.Deadline
todeclareaconcentrationorminorisDecember1ofthe
junioryear.
CONCENTRATION IN COLLABORATIVE ARTS. 1521 hours
Literature/History: MUSL 221
Performance: MUSP 193 (1 hour), MUSR 299 (1 hour), MUSO 109D
every semester
Other Music: MUSO 159, 159c, 159d, 256A or 256B, 259, 289 (2 hours
in vocal coaching or chamber music literature)
Ensemble: One semester chosen from MUSE 100A, 101A, 201A, 101,
101F, or other approved conducted choir; one semester of 102; one
semester of 101F (as apprentice pianist); six semesters of 201B,
201D, 221, 222, or 223; and three semesters ensemble of choice
with advisers approval.
Liberal Arts: Must include 5 hours each in two different languages cho-
sen from Italian, German, or French. Students with previous study in
one of these must study the other two.
Recommended: MUSC 224 and MUSL 218.
CONCENTRATION IN COMPOSITION. 18 hours minimum
Department approval required for admission to this concentration.
Composition/Theory: MUSC 230; choice of two from MUSC 223, 224,
225, 226, 248, 251, 261, 280, or 294
Composition (elective): 11 hours over a minimum of 4 semesters in
MUSC 230E
CONCENTRATION IN MUSIC LITERATURE/HISTORY. 2125 hours
Literature/History: 9 elective hours (in addition to 9 hours required for the
musical arts major)
Liberal Arts: History 135, 136, 6-10 hours (two semesters) of foreign
language approved by the department; a total of 34 hours, rather
than 30, in liberal arts
CONCENTRATION IN PEDAGOGY. 15 or 16 hours
Music Cognition coursework: MUST 216.
Instrumental Literature: Choice of MUSO 256A, 256B, 257, 258, 259, or
289 (in field, 2 hours)
Pedagogy coursework: Choice of MUSO 266, 267, 268, 269 or 289 (in
field, 2 hours), and Pedagogy Practicum MUSO 271 (2 hours)
Pedagogy Internship: MUSO 281 (6 hours)
Senior Recital: MUSR 299
Liberal Arts: Must include PSY 1630 and 2310 (Peabody courses)
CONCENTRATION IN THEORY. 19 hours
Departmental approval required for admission to this concentration.
Composition/Theory: MUSC 230 and 16 hours in 225, 227, 251, 261, or
294
HONORS IN MUSIC LITERATURE AND HISTORY. 9 hours
Departmental approval required for admission to this program; see regu-
lations in the Honors section of the catalog.
Thesis: Departmental approval of a formal thesis prospectus, MUSL
299A-299B (6 hours), and successful completion of an oral defense.
Course work: One course beyond the MUSL core chosen from MUSL
201, 221-238, 245, 247, 252, 253, 262, or 294 (3 hours)
The MUSL credit hours of this program may double-count in the concen-
tration in music literature/history.
MINOR INSTRUMENT. 10 hours
Ensemble: Participation on minor instrument (including voice) in two
separate ensembles, as assigned (2 hours)
Performance: Minimum of four semesters in a second performance
area (any orchestral instrument, piano, organ, harpsichord, guitar,
saxophone, euphonium, or voice) at a level of proficiency required by
the department. Representative repertoire lists reflecting minimum
performance standards and required declaration forms are available
in the Blair office or online at blair.vanderbilt.edu/academics. Consent
of instructor required (8 hours).
TeacherEducation
TheBlairSchoolandPeabodyCollegeofferaprogramfor
studentsinterestedinteacherlicensure.Studentscompletingthis
programearnthebachelorofmusic(B.Mus.)degree,majoring
inthemusicalarts/teachereducationtrackforfouryears,andthe
masterofeducation(M.Ed.)degreeinthefifthyeartocomplete
professionaleducationrequirements.Duringthejunioryear,
applicationismadetoPeabodyCollege.TheM.Ed.workrequires
onecalendaryear,JuneMay.Studentsmayelecttoworktoward
licensureineitherinstrumental/generalorvocal/generalmusic,
basedontheirinterestandabilitytoperformatalevelsufficient
forplacementintheappropriateperformingensemble.Thecur-
riculumincludesastrongmusicperformanceemphasis;asolid
foundationinmusicliterature,theory,andtheliberalarts;under-
graduateandgraduatecoursesinpsychologyandeducation;
andpractica(practicalexperience)fourofthefiveyearsofstudy,
withtwostudentteachingopportunitiesinthespringsemester
ofthemastersdegreework.Practicaconstituteawidevarietyof
gradeK-12experiences,includingpublicschool,privateschool,
andBlairspre-collegiateprogramssuchasSuzukistrings,Blair
ChildrensChorusprogram,andtheNashvilleYouthOrchestra
program.Studentscompletethesamemusiccorerequirements
asanyotherB.Mus.candidate.Theliberalartscoreisadaptedto
fulfillstatelicensurerequirements.Themusicelectivesordinar-
ilyassociatedwiththemusicalartscurriculumare,forstudents
inthefive-yearprogram,devotedtoprerequisitesfortheM.Ed.
degreeandfortheteachinglicense;thus,thereareveryfewfree
electivehoursinthiscurriculum.
Junior Mid-Program Review [Screening I]
Allstudentsadmittedtothisprogramatmatriculationmustbe
formallycontinuedthroughaprocesscalledJuniorMid-Program
Review.Criteriaforthisreviewarelistedbelow.Studentsnot
approvedcancompletethegeneralmusicalartsdegree.
Specific Criteria
:. Aminimumcumulativegradepointaverageof:.,oo.
:. Successfulcompletion(C-orbetter)ofEDUC:o:oand
SPED:o:o
,. Successfulcompletion(C-orbetter)ofMUSC:,:,:,:E,
MUSL:::WandMUST:,oA.
. Successfulcompletion(C-orbetter)oftwoadditional
VanderbiltcourseswhichcounttowardstheLiberalArts
Core.
General Criteria
Thesecriteriarestontheprofessionaljudgmentofappropri-
atefacultymembers,whoarepolledfollowingthestudents
applicationforJuniorMid-ProgramReview.
:. Endorsementbytheappropriatefacultythattheapplicant
hasdemonstratedtheacademicandmusicalqualications
expectedofVanderbiltteachereducationcandidates.
:. Endorsementbytheappropriatefacultythattheappli-
canthasdemonstratedthepersonalandcharactertraits
expectedofVanderbiltteachereducationcandidates.
Procedure for Junior Mid-Program Review [Screening I]
Studentsapplyforcontinuationintheteachereducationpro-
gram[ScreeningI]throughtheBlairassociatedean/program
director.
Applicationsmustbesubmittedinthefallsemesterofthe
junioryear.DeadlineforsubmittingapplicationsforJunior
Mid-ProgramReview[ScreeningI]is:October.
Admission to the Masters Degree
Duringthejunioryear,studentswithstrongrecordsarecoun-
seledtotaketheGraduateRecordExamination(GRE)orthe
MillerAnalogiesTest(MAT)andapplyforadmissiontoPea-
bodyCollegeforthemasterofeducationdegreeprogram.The
admissionsprocessincludesconsiderationofGPA,testscores,
andrecommendations.Deadlineforreceiptofallapplication
materialsisthesummerbetweenthejuniorandsenioryears.
B
Fifth Year Curriculum
SUMMER Semester hours
EDUC 3520 Principles of ELL Education 3
EDUC 3110 Psychological Foundations of Education 3
EDUC 3510 Teaching in Secondary Schools 3
MUST 300 Philosophical Foundations and Contemporary Issues in Music Education 3
FALL
EDUC 3050 Social/Philosophical Aspects of Education 3
EDUC 2360 Practicum in Music Education 1
EDUC 3890 Independent Study in Music (may be taken in summer;
requires approval of Blair associate dean) 2
or MUST 317 Advanced Studies for the Wind Band Conductor
MUST 320/330 Methods and Materials in Teaching Music, Instrumental or Vocal/Choral 3
MUST 340 Methods and Materials in General Music, PreK through 12 3
SPRING
EDUC 3003 Internship in Teaching: Music 6
EDUC 3004 Internship Seminar: Music 1
(A capstone project is also required)
___
Total hours: 31
Admission to Student Teaching [Screening II]
Prospectivestudentteachersmustapplyforadmissionto
studentteachingduringthefallsemesterofthefifthyear.
ApplicationmaterialsareavailablefromthePeabodyOffice
ofTeacherLicensure,locatedin210PeabodyAdministration
Building.Deadlineforsubmittingapplicationsis1October.
Studentteachingrequiresatleasttwoplacementsattwodiffer-
entagelevelsinafifteen-weeksemester.
General Criteria for Admission to Student Teaching
:. CompletionoftheB.Mus.degree.
:. AdmissiontotheMasterofEducationprogram.
,. Successfulcompletionofallcoursesprerequisitetostudent
teaching.
. Aminimumgradepointaverageof,.oo.
,. Satisfactoryperformanceincourseworkinareasinwhich
teacherlicensureissought.
o. Submissionofarsumandpersonalstatement,discussing
whytheapplicantwantstoteachandwhatstrengthsthe
applicantbringstotheclassroom.
,. Endorsementbytheappropriatefacultyregardingaca-
demic,musical,andpersonalreadinesstoteach,including
dependability,professionalandethicalbehavior,attitude,
andinterpersonalskills.
Application for Teacher Licensure and
University Recommendation for Licensure
Allstudentscompletingtheteachereducationprogramat
VanderbiltarestronglyadvisedtoapplyforalicenseinTen-
nesseewhetherornottheyplantoteachinthisstate.Normally
aTennesseelicenseisacceptedinallotherstatesandforeign
countriesinwhichVanderbiltstudentsapplytoteach.Thestu-
dentisresponsibleforapplyingforlicensurethroughtheOffice
ofTeacherLicensurelocatedin210PeabodyAdministration
Building.Eachstatehasitsownsetofapplicationformsand
proceduresforlicensure;informationisavailableintheOffice
ofTeacherLicensure.
TobelicensedthroughVanderbiltsteachereducation
program,agraduatemustearnapositivelicensurerecom-
mendationfromtheuniversity.Teuniversitysdecisionto
recommendacandidateisbaseduponthefollowing:
:. Maintaininga,.ogradepointaverageinthefhyear..
:. Achievingthestateminimumscoreonallrequiredpartsof
thePRAXISExaminations.Acopyofthescoresmustbesent
totheVanderbiltOceofTeacherLicensure(codeR:8,:).
,. Receivingapositiverecommendationfromthestudents
departmentasaresultofthestudentteachingexperience
(Passinstudentteachingdoesnotguaranteeafavorable
recommendation).
AllVanderbiltteachereducationprogramsareapprovedby
theNationalCouncilforAccreditationofTeacherEducation
(NCATE).Teprogramforlicensuretoteachinstrumental/
generalorvocal/generalmusicisapprovedbytheNational
AssociationofSchoolsofMusic(NASM).
3+2B.Mus./MBABlair-to-Owen
Program
Thefive-yearjointprogrambetweentheBlairSchoolofMusic
andtheOwenGraduateSchoolofManagementallowsasmall
cohortofparticularlymotivatedstudentstooverlaptheir
undergraduatecourseworkwithworktowardtheMBA,facili-
tatingtheearningofboththeundergraduateandgraduate
degreesinfiveyears(tensemesters).Bycombiningthreeand
one-halfyearsinVanderbiltsBlairSchoolofMusicwithone
andone-halfyearsofstudyintheOwenSchool,studentsmay
obtainboththebachelorofmusicandthemasterofbusiness
administrationinfiveyears.ThebaccalaureatefromtheBlair
Schoolisawardedattheendofthefourthyear,andtheMBA
fromtheOwenSchoolafterthefifthyear.Studentsinterested
inpursuingthisprogrammustbeenrolledinthemusicalarts
major.
TisprogramfollowsthemodeladoptedbytheCollege
ofArtsandScienceandtheSchoolofEngineering,inwhich
astudentspendshisorherundergraduatetimetopursue
intellectualcuriosityanddevelopanalyticandcommunica-
tionskillswithoutregardtosubjectmatter,completingall
oftherequirementsofanestablishedundergraduatemajor.
Tus,studentsinthisBlair-to-Owenprogramwillcontinue
tofulllalloftheB.Mus.degreerequirementsinmusicalarts,
butchoosecourseoerings(particularlyintheiracademic
electives)thatwillfacilitatearapidcompletionoftheMBA
requirements.
RequiredcourseworkincludesthenormalBlaircourse
workforthemusicalartsmajor,plusBusinessofMusic
(MUSO:oo)andagradedinternship(MUSO:8oAor:8oB),
foraminimumof8ocredithoursinmusic.Teliberalarts
corewillalsofollowtherequirementsforthemajor,butmust
includethefollowingspecicrequirements:
Calculus(:semester)
Statistics,e.g.,Econ:,o:EconomicStatistics
Econ:oo:PrinciplesofMacroeconomics
Econ:o::PrinciplesofMicroeconomics
Econ:,::IntermediateMicroeconomicTeory
Acurriculumplan,includingrecommendedelectives,is
providedintheBlair Student Handbook.
StudentsmustapplytotheOwenSchoolforadmissionto
theve-yearprogramduringtheirjunioryear.Applications
areduenolaterthanOctober:ofthejunioryear,andearly
applicationandGMATarerecommended.Acceptanceinto
theve-yearprogramisextremelycompetitiveandrequires
advancedstandingearnedinundergraduatecourses.Being
decientinfull-timeworkexperience,the,+:studentmust
enhancehisorherportfoliowithoutstandingacademic
performanceandshowastrongcommitmenttoarigorous
businesseducation.TeSummerBusinessInstitute(Accel-
erator)isstronglyrecommendedfor,+:applicantspriorto
matriculatingatOwen.Tesuccessfulapplicantwillbringan
accomplishedacademicrecord(normallyaGPAof,.,orbet-
ter),satisfactoryinternshiporworkexperience,anabilityto
articulatehisorherownpreparednessfortheworkenviron-
ment,andastrongendorsementfromVanderbiltfaculty.
Studentswhoareacceptedtothe,+:programwillremain
registeredasB.Mus.studentsthroughspringofjunioryear
andfallofsenioryear,andwillregisterasOwenstudents
inspringofsenioryear.Academically,studentswilltakea
fullloadofbusinesscoursesbothinfallandspringofsenior
yearwhilecompletingthenalB.Mus.degreerequirements
(normally,lessonsandensembles)inthemusicalartsmajor.
TecompletionoftheB.Mus.degreerequirementspriortofall
ofthestudentsfhyearisrequiredforcontinuationinthe
MBAprogram.
Tuition and Financial Aid
Thescholarshiporotherfinancialaidcommitmentofthe
BlairSchoolwillnotbecontinuedautomaticallybeyondthe
seventhsemesterforstudentsenrolledinthejointprogram.
Eighth-semesterfinancialaidisthestudentsresponsibility.
StudentsshouldnotifytheOwenSchoolwiththeirapplica-
tioniftheyareinterestedinbeingacandidateforanOwen
scholarshipduringtheirMBAstudies.Earlyapplicationis
recommended.Need-based aid will still apply.
Studentspaytuitiontotheundergraduateschoolforthe
fallsemesteroftheirfourthyear,aferwhichalltuitionis
paidtoOwen(andreectsgraduateschooltuitionrates).Te
BlairSchoolofMusicwillwaivefeesfortherequiredMUSP
instructionduringspringofthefourthyeartofacilitate
completionoftheB.Mus.requirements.
261
B
LAIRSchoolofMusicoffersindividual,group,class,
andensembleinstructiontopre-collegeandadult
students(definedasstudentsabovehighschoolage
notreceivinguniversitycredit).Acatalogdescribingthese
programsisavailableatblair.vanderbilt.edu.
The Adult Program
Blairofferstoadultsindividualinstructioninorchestral
instruments,piano,organ,guitar,harp,saxophone,eupho-
nium,harpsichord,fiddle,banjo,mandolin,dulcimer,steel
drum/pan,voice,andcomposition.Jazzvoice,guitar,drumset,
saxophone,andpianoarealsoavailable.Groupinstructionis
availableinpiano,guitar,percussion,andsteeldrum.
Classesareoeredinmusictheory,musicliteratureand
history,musicianship,musicbusiness,songwriting,and
AlexanderTechnique.Ensemblesopentoadultsincludethe
VanderbiltCommunityChorus,percussionensemble,steel
drumensemble,AfricanPerformingEnsemble(Sankofa),
ddleensemble,andthecollegiatechambermusicoerings.
The Precollege Program
Blairoffersindividualinstructioninorchestralinstruments
andinpiano,organ,guitar,harp,saxophone,euphonium,
harpsichord,fiddle,banjo,mandolin,dulcimer,steeldrum/
pan,andvoice.Jazzvoice,guitar,drumset,saxophone,and
pianoarealsoavailable.Groupinstructionisavailablein
piano,fiddle,and(foryoungchildren)Kindermusikforages
birthtosixyears.InstructionusingtheSuzukimethodis
offeredinviolin,viola,cello,andpiano.
Classinstructionincludesmusictheory,musicliterature/
history,andAlexanderTechnique.
EnsembletrainingisoeredthroughtheNashvilleYouth
Orchestraprogram,theBlairChildrensChorusprogram,
ViolinPerformingEnsemble,CelloChoir,chambermusic,and
AfricanPerformingEnsemble(Sankofa).
TeBlairSchoolCerticateProgramprovidesacurriculum
integratingadvancedlevelsofperformancestudywithtraining
inmusictheoryandhistory,performanceclasses,andrecitals.
Studentswhosuccessfullycompletetherequirementsforthis
programpresentasolorecitalduringtheirhighschoolsenior
yearandreceiveeithertheCerticateofAchievementorthe
CerticateofMeritupongraduation.Avarietyofmeritand
need-basedscholarships,forwhichstudentsmayaudition,are
awardedeachyeartooutstandingprecollegestudentsbythe
schoolandbyseveraldonors.Studentsinareahighschools
mayearnout-of-schoolcredittowardshighschoolgraduation
forindividualstudyofmusicatBlairorthroughparticipation
intheNashvilleYouthOrchestraprogramorBlairChildren's
Chorusprogram.
The Blair Concert Series
TheBlairConcertSeriesofferssolo,chamber,andorches-
tralmusicperformancetotheuniversitycommunityand
theregion.TeBlairConcertSeriesprovidesexceptional
programmingthroughthefacultySignatureSeries,theBMI
ComposerinResidenceSeries,theNightcapSeries,andthe
MusiconFilmSeries.Nationalandinternationalartistsand
ensembles,theBlairfaculty,includingresidentensemblesand
soloists,andstudentensemblesandperformersareallfeatured.
Weeklystudentrecitals,heldeachTursdayat,:oop.m.,are
opentothepublic,asareallotherstudentrecitals.Morethan
,ooconcertsarepresentedattheschooleachyear,andmost
arefreeofcharge,asagiftothecommunity.
TeBlairCommissions:Musicforthe::stCentury,a
projectfundedbytheJamesStephenTurnerFamilyChari-
tableFoundation,presentedthreemajorworldpremieresby
someoftheworldsmostcelebratedcomposersinthe:oo::
concertseasons.Terstpremiere,A Year in the Catskills
byPeterSchickele,wasperformedinIngramHallonMarch
:o,:oo,bytheBlairWoodwindQuintet.Inspring:o:o,the
BlakemoreTriopremieredaworkbycomposer/soprano
SusanBottiinNashvilleandatMerkinHallinNewYorkCity.
Images from a Closed Ward,composedbyMichaelHerschfor
theBlairStringQuartet,waspremieredinNashvilleandNew
YorkCityinspring:o::.Teprojectservestwointertwined
missions:topromotethecompositionofoutstandingworks
bytheworldsleadingcomposersandtoinviteattentionto
theexcellentensemblesandfacultyperformersofVanderbilt
University.
TeBMIComposer-in-Residenceprogram,sponsoredby
BroadcastMusicInc.,bringsvisitingcomposerstocampus
everyyear.Tethree-dayresidencyincludeslectures,perfor-
mancesofthecomposersworks,andopportunitiesforinter-
actionwithstudents.Composers-in-residencehaveincluded
RobertBeaser,GeorgeCrumb,MichaelDaugherty,LukasFoss,
JohnHarbison,KarelHusa,StevenMackey,DonaldMartino,
CindyMcTee,ChristopherRouse,AdamSchoenberg,Joseph
Schwantner,FrankTicheli,MichaelTorke,andJoanTower.
Special Programs
Academic Regulations
Honor System
All academic work at Vanderbilt is done under the Honor
System (see the chapter on Life at Vanderbilt.)
Faculty Advisers
All entering students are assigned academic advisers who assist
in the planning of programs and course schedules. Students
are required to meet with their advisers prior to registration
for each semester.
Class Attendance
Students are expected to attend all sessions of each class in
which they are enrolled. Attendance is usually a factor in
determining the final grade in a course. A student who fails to
abide by the attendance policy set by the course instructor is
subject to removal from the course.
Te last day before and the rst day afer ocial holidays
are considered to be the same as any other day on which
classes are scheduled. Assignments are made for classes sched-
uled on these days, and tests may be given in them. Students
should take this fact into account in making travel plans.
Credit Hour Definition
Credit hours are semester hours; e.g., a three-hour course
carries credit of three semester hours. One semester credit hour
represents at least three hours of academic work per week, on
average, for one semester. Academic work includes, but is not
necessarily limited to, lectures, laboratory work, homework,
research, class readings, independent study, internships, prac-
tica, studio work, recitals, practicing, rehearsing, and recitations.
Some Vanderbilt courses may have requirements which exceed
this definition.
Course Load
Tuition is charged on the basis of a normal course load of 12 to
18 semester hours. Course loads outside the norm, which must
be recommended by the students adviser and approved by the
associate dean, are charged at an hourly tuition rate. Students
permitted to take fewer than 12 hours are placed on probation,
unless their light load is necessary because of outside employ-
ment or illness. The maximum course load for the summer
session is 12 hours (6 hours for a summer half-session).
Residence Requirement
Students must complete at least half the credit required for
the B.Mus. degree (63 hours) and four semesters, including
the last two semesters and the last 30 credits, in residence at
the Blair School. In residence is defined as enrolled for a
minimum of 12 hours. Students who wish to study abroad
or study away in their penultimate semester may petition the
Blair Curriculum Committee for a waiver of the residence
requirement.
Advanced Placement
Advanced Placement with Credit. Advanced placement
with credit is granted in a number of areas (see the chapter on
Admission).
Advanced Placement without Credit. Students may be admit-
ted to advanced music courses on the basis of placement tests
at Blair, but no credit is awarded for music courses exempted.
Transfer Credit
Transfer courses are ofen taken as free electives, but they
may also earn liberal arts core credit. Tey may not fulll the
music core requirements, count as part of the last ,o hours of
residence, serve as repeat credit, or be taken on a Pass/Fail basis.
Work transferred from another institution will not carry with
it a grade point average. No course in which a grade below C
was received will be credited toward the B.Mus. degree.
Pre-freshman work. Credit for pre-freshman college
work may be given, subject to evaluation by the registrar
and approval of the associate dean. Credit for courses taken
at another institution during the summer preceding a stu-
dents initial enrollment at Vanderbilt will be granted only if
approval is obtained in advance from the associate dean. The
course work must be comparable to courses offered at Vander-
bilt. Credit will be awarded only if the course is regularly
offered by an accredited two-year or four-year college or
university, if the teacher was a regular faculty member of that
institution, and if a majority of the students in the course were
candidates for a degree at that institution.
Summer studies. Students enrolled at Blair may receive
transfer credit for summer courses taken at another four-year,
fully accredited institution. This may include work at festivals
or camps, if offered through an accredited institution. To
qualify for summer credit, a student must be in good standing,
consult the school registrar, provide course descriptions, and
obtain authorization in advance. Deadline for pre-approval is
April :.
Semester work at another institution. Students wanting
to receive transfer credit for a semester of work at another
institution must receive approval in advance from the associ-
ate dean. To qualify for such credit, the student must be in
good standing and must present a plan that makes clear the
educational rationale for such work, the ways in which it
supplements the Vanderbilt curriculum, and the equivalence
of standards to those at Vanderbilt. Approval of the overall
plan must be followed by approval of specic courses by the
associate dean, the appropriate academic department, and the
Blair registrars oce.
Transfer Students
Transfer applicants must comply with university standards
(see the chapter on Admissions). The required audition is
of major importance in the evaluation of any application.
Composition/theory applicants must submit a composition
portfolio and interview with a member of the composition/
theory faculty.
Transfer students must submit catalog copy and, in most
cases, course syllabi from the previous institution(s). A level of
performance study is assigned based on the entrance audition.
Credit for courses is subject to evaluation. Music courses may
require an examination to verify placement and/or credit at
Vanderbilt, and credit for non-music courses must be approved
263
B
by the appropriate Vanderbilt department. Transfer students
must complete at least half the credit required for the degree,
or o, hours, at the Blair School. See also, Transfer courses.
Intra-university transfer. Students intending to transfer
within the university should meet with the head of academic
advising and file appropriate paperwork. For students
transferring out of the B.Mus. program, music fees are covered
through the end of the final term as a B.Mus. student. All stu-
dents are expected to maintain a minimum of , credit hours
within their home school until transfer is approved. First
semester freshmen are ineligible for transfer status. See also,
the chapter on Admissions.
Study Abroad
Five Vanderbilt study abroad programs are coordinated with the
degree programs in music: the IES programs in Vienna, Austria,
and in Amsterdam, The Netherlands, the Milhaud Conservatory
through Vanderbilt in France, the DIS program at the Royal
Danish Academy of Music in Copenhagen, Denmark, and the
IFSA/Butler program at the University of Sydney and Sydney
Conservatorium of Music in Sydney, Australia. These programs
include provisions for lesson and ensemble credits, contingent
upon audition and admission to the program. These will count
towards the Blair music core and are covered at least in part by
regular tuition and fees, although students are responsible for
any instrument rental fees they accrue. All programs also allow
for a range of liberal arts and elective credits. Students enrolled
in IES Vienna will be required to enroll in German; there is,
however, no language prerequisite for admission to the pro-
gram. Further information can be obtained from the Vanderbilt
Global Education Office and from Blairs associate dean.
Blair students may also elect any of the Vanderbilt-
approved study abroad programs; see descriptions under
Study Abroad in the front chapters of the catalog. Former
Blair students in these programs have typically enrolled in
music electives, courses in the liberal arts core, and course-
work towards minors and second majors. Students in these
programs typically arrange alternative private lesson study,
and those fees are usually not covered by tuition. It is also
possible to pursue study abroad through transfer credit; the
associate deans oce has more details.
Registration
Registration is available to entering freshmen in June. Continu-
ing students register on dates specified each semester in the
University Calendar and as assigned in YES (Your Enrollment
Services, yes.vanderbilt.edu). Conferences with faculty advisers
are required before students may register. Detailed information
on registration is available on the University Registrar website,
registrar.vanderbilt.edu/registration.htm.
Prior to registration, students should refer to the sample
curriculum plans in the Blair Student Handbook. Records and
the degree audit should be checked regarding progress toward
completing the following:
:. Music core
:. Liberal arts core
,. Additional major area requirements
A student whose registration choices are denied or altered
(full or cancelled class, lack of prerequisites, etc.) may select
alternate courses during the Open Enrollment registration
period.
Change of Course
Course changes may be made during the Open Enrollment
period or the official Change Period (Drop/Add), normally the
first week of classes, as published in the University Calendar.
All changes need the advisers approval. A course dropped
during the Change Period does not show on a transcript.
A course may be dropped or changed from P/F to graded
status prior to the deadline for withdrawal published in the
University Calendar. Te approval of the instructor, adviser,
and associate dean is required (see Grading System regarding
withdrawal grades). Regularly enrolled students must maintain
a minimum course load of :: hours.
Grading System
A: excellent
B: good
C: satisfactory
D: minimum pass work
F: failure
Under certain circumstances the following grades may be awarded (see
explanations below):
Pass: D or above
W: withdrawal
M: missed final examination (prior approval needed; see below)
I: incomplete in some requirement other than final examination
(see below)
MI: missed final examination and incomplete in some other
requirement
Plus and minus modiers may be associated with letter
grades A through D as shown in the table below. Grade point
averages are calculated using indicated grade point values.
Defined Grades with Corresponding Grade Points
Per Credit Hour
A = 4.0 C = 2.0
A = 3.7 C = 1.7
B+ = 3.3 D+ = 1.3
B = 3.0 D = 1.0
B = 2.7 D = 0.7
C+ = 2.3 F = 0.0
Grade Point Average
A students grade point average is obtained by dividing the
total grade points earned by the number of hours for which
the student registered, excluding courses audited or taken for
no credit, those from which the student has withdrawn or for
which an incomplete grade (I, M, or MI) has been authorized,
and those with the grade Pass.
Pass/Fail Option (Elective)
Students may elect to take a limited number of courses on
a Pass/Fail (P/F) basis. To enroll for a course on a Pass/Fail
basis, students must have completed at least two semesters at
Vanderbilt, must have achieved at least sophomore standing,
and must not be on academic probation. The school registrar
can assist with P/F registration.
For B.Mus. students, the Pass/Fail option is limited to courses
taken as free electives. Coursework in the area of a minor or
second major is governed by the school in which the department
or program is housed. No more than one course may be elected
on a Pass/Fail basis in any one semester. Only a total of :8 hours
towards the ::o-hour degree total may be taken on a Pass/Fail
basis. Students electing course work on a Pass/Fail basis must
Blair School of Music / Academic Regulations
be enrolled for :: graded hours. A graduating senior who has
permission to take fewer than :: hours on a graded basis may
take one course on a P/F basis in addition to the courses required
for graduation. If the student does not graduate at the end of that
semester, the grade P is automatically converted to the grade
actually earned.
Students may register for grading on a Pass/Fail basis until
the close of the Change Period. Students may change from
Pass/Fail to graded status until the deadline date for dropping
a course that is published in the University Calendar.
Tose electing the Pass/Fail option must meet all course
requirements (e.g., reports, papers, examinations, attendance,
etc.) and are graded in the normal way. Instructors are not
informed of the names of students enrolled on a Pass/Fail
basis. At the end of the semester, a regular grade is submitted
for the student enrolled under the P/F option. Any grade of
D- or above is converted in the Student Records System to a
P, while an F will be recorded if a student enrolled under this
option fails the course. Te P grade is not counted in the grade
point average nor used in the determination of honors. Te
grade of F earned under the Pass/Fail option is included in the
calculation of the grade point average.
Deficiency Notices
During the week after mid-semester, the University Registrar
distributes deficiency notices to students whose mid-semester
grade in any course is a C or below or whose work is incomplete
(I). (Deficiency notices are found on the student landing page in
YES at yes.vanderbilt.edu.) Deficiencies are issued as a matter of
information and warning. Deficiencies do not show on tran-
scripts, but information is sent to the faculty advisers and may
be sent to parents of those students who are dependents of their
parents or who have authorized such reports.
A student who receives a deciency notice is required to meet
with the faculty adviser before the deadline for withdrawal at
the end of the week. A student with deciencies in two or more
courses or any senior who receives a deciency notice is also
required to meet with the associate dean before the deadline for
withdrawal (usually Friday of the week afer mid-semester).
W: Withdrawal
A student may withdraw from a course after the official
Change Period and prior to the deadline for withdrawal
published in the University Calendar, generally Friday of the
week after mid-semester. A change of course card (green card)
must be signed by the instructor, adviser, and associate dean
and filed with the Blair School registrar. (Students from other
schools of the university must file with their home school
registrar.) Withdrawals after the published deadline result
in an F. The grade W may be assigned by the associate dean
to a student who seeks to withdraw from a course or from
school after the deadline for reasons such as extended illness
or unusual personal or family problems. No W grades are
calculated in a students grade point average.
Temporary Grades
Temporary grades are placeholders that are assigned under
defined circumstances with a specified deadline by which
they will be replaced with a permanent grade. A student who
receives a temporary grade is ineligible for the Deans List.
Students cannot graduate with any temporary grades.
I: Incomplete
An Incomplete is given only under extenuating circumstances
and only when a significant body of satisfactory work has been
completed in a course. The I is not intended as a replacement
for a failing grade, nor should it be given to a student who
misses the final examination. The M grade is used for the latter
purpose. The request for an Incomplete is generally initiated
by the student and must be approved by the instructor. The
instructor may initiate the assignment of an Incomplete if
warranted by the circumstances and conditions referenced
above. In either case, in assigning the grade of I, the instructor
specifies (a) a default grade that counts the missing work as
zero and (b) a deadline by which the missing work must be
submitted. That deadline must be no later than the last class
day of the next regular semester in residence. The Incomplete
can be extended beyond the next semester only if the students
associate dean determines that an extension is warranted. If
the required work is submitted by the deadline for removing
the Incomplete, the I will be replaced by the grade earned. If
the work is not completed by the deadline, the default grade
will become the permanent grade for the course.
Te Incomplete is not calculated in the GPA, but a student
who receives an Incomplete is ineligible for the Deans List.
M: Missing a Final Examination
The grade M is given to a student who misses the final
examination and is not known to have defaulted, provided the
student could have passed the course had the final examina-
tion been successfully completed. The grade of F is given
if the student could not pass the course even with the final
examination.
It is the students responsibility to contact the Deans Oce
before the rst class day of the next regular semester, regard-
less of whether the student will be in residence that semester,
to request permission to take a makeup examination. Te
makeup examination must be taken on or before the tenth
class day of the next regular semester. If the request has not
been submitted by the proper time, or if the student fails to
take the makeup examination within the prescribed time, the
M grade will be replaced by a default grade submitted by the
instructor when the M is assigned.
MI: Missing a Final Examination and Other Work
The grade MI is assigned to a student who misses the final
examination and whose work is incomplete in other respects.
The MI may not be turned in without prior authorization by
the dean. It is the students responsibility to contact the Deans
Office to request permission to take a makeup examination
and to arrange for submission of the missing work.
No-Credit Courses (NC)
Students who wish to take courses on a no-credit basis must
file with the Blair registrar before the end of the Change
Period, usually the first week of classes. Students must attend
class and complete all course work. A grade is recorded on the
transcript with the notation NC, indicating that it does not
count toward the degree.
No-credit courses count in the computation of a students
academic load and tuition, but not in the computation of the
grade point average.
265
B
Auditing
Regularly enrolled Blair students who want to audit courses in
any of the undergraduate schools of the university must obtain
the written consent of the instructor to attend the class but do
not register for the course for credit. Forms are available from
the school registrar. No permanent record is kept of the audit.
Regular students may audit one class each semester.
Repeated Courses
Certain courses, notably performing ensembles and variable
credit performance instruction, may be taken more than
once for credit. Otherwise, students may repeat any course to
replace a grade, with no additional credit hours earned, subject
to the following conditions:
Courses taken at Vanderbilt may not be repeated elsewhere.
A grade may not be replaced by a grade of Pass.
A grade of W or I cannot replace a letter grade.
Only the most recent grade is calculated in the grade point
average, but all grades show on the transcript.
Dead Week
The last week of classes, i.e., the last seven calendar days before
the final examination period each semester, is designated as
dead week. No examinations of any type, including quizzes,
portions of final examinations, recitals, or ensemble perfor-
mances, may be given during this time without the express
written permission of the dean and notification of students
at least two weeks before dead week. Violations should be
reported to the dean.
Examinations
All examinations are conducted under the honor system. Pri-
mary and alternate exam schedules, which allow two hours for
a final exam in each course, are listed on the University Regis-
trar's website. The instructor may use the alternate schedule in
addition to, but not instead of, the primary schedule.
Alternatives to standard in-class nal examinations, such
as term papers or take-home, self-scheduled, or oral examina-
tions may be given at the instructors discretion. A take-home
exam is distributed at the last regular class meeting and
must be completed by the latest time scheduled for the nal
examination.
Performance examinations are scheduled by department
chairs. Students giving full recitals during the semester may be
exempted from performance examinations at the discretion
of the instructor. If performance examinations are scheduled
on a reading day (the day afer classes end, when no course
examinations are scheduled), students are also given the
choice of a dierent day for their performance examinations.
A student who misses a nal examination may be eligible to
receive the grade M (see Temporary Grades).
Writing Portfolio
Students in their senior year are required to submit a writ-
ing portfolio drawn from academic coursework from one or
more classes to be evaluated by a faculty committee. Emphasis
should be placed on demonstrating an ability to write clearly
and effectively and on the students ability to form connection
across two or more disciplines. Students are encouraged but not
required to prepare a one-paragraph narrative explaining how
the submitted work demonstrates the required competencies.
Grade Reports
Grade reports and faculty critiques of performance examinations
will be provided to students as soon as possible at the end of each
semester. Grades are available online in the Academic Record,
which is housed within YES (Your Enrollment Services) at
yes.vanderbilt.edu. Occasionally, student academic information
may be shared with appropriate faculty committees for purposes
of promotion and tenure review.
A grade reported and recorded in the University Registrars
oce may be changed only upon written request of the
instructor, on certication that the original report was in error,
with approval of the associate dean.
Academic Standards
For the purposes of class standing, a regular semester is defined
as any fall or spring term in which a student is registered for at
least 12 hours.
Class Standing
To qualify for sophomore standing, a student must complete
a minimum of 24 hours with a grade point average of 1.8 and
have completed two regular semesters.
To qualify for junior standing, a student must complete a
minimum of , hours with a grade point average of :., must
complete MUSC :,: and :,:E, and must have completed four
regular semesters.
To qualify for senior standing, a student must complete a
minimum of 8o hours with a grade point average of :.o and
have completed six regular semesters.
Academic Probation
Students are placed on probation if they fail to meet class
standing benchmarks, as noted above. Students on probation
must qualify for class standing in one additional semester or
risk being dropped from the university.
Students are placed on academic probation: if they fail to
meet class standing benchmarks; if they complete fewer than
:: hours in a fall or spring semester except in cases involv-
ing documented mitigating circumstances (illness, injury, or
family emergency); or if their semester grade point averages
fall below :.8 overall or :.o in music. In addition, freshmen
are placed on academic probation if they do not complete one
writing course. Incomplete grades may adversely aect class
standing or grade point averages.
Students on academic probation may not transfer summer
study credit, elect to take courses on a Pass/Fail basis, earn
credit by departmental examination, or participate in any
extracurricular performance activity. Tey are required to
participate in a special academic advising program. Students
will be placed on probation no more than twice. Students who
are candidates for probation a third time will be dropped from
the university.
Sudden Academic Insufficiency
Any student who fails by a wide margin to reach prescribed
levels of academic achievement, either at the end of a semester
or at mid-semester, is reviewed by the associate deans office
in conjunction with the academic and studio adviser(s). If
the student is not making satisfactory progress towards the
degree, the student may be placed on probation or may be
advised or required to take a leave of absence or advised to
withdraw from the university. Appeals of such findings should
be addressed to the Blair Curriculum Committee.
Scholarship Student Requirements
Students receiving honor scholarships through Blair School
of Music must be enrolled full time, taking all assigned music
courses, must qualify for class standing, and must maintain
each semester minimum grade point averages of 2.0 overall and
2.7 in music. Students receiving the Harold Stirling Vanderbilt
Honor Scholarship must maintain a minimum 3.0 grade point
average overall and 3.0 in music each year. Additional require-
ments may be stipulated in scholarship award letters.
Honor scholarship awards are considered for renewal
annually. Student work will be reviewed at the end of spring
semester for possible renewal for the following academic year.
Incomplete grades may adversely aect renewal. A student
who falls short of the requirements will normally have the
scholarship for one semester of grace, afer which, if require-
ments are still not met, the scholarship will be lost.
Students receiving scholarships or grants as part of their
nancial aid packages (not honor scholarships) must qualify
for class standing in order to be considered for renewal each
year. Students receiving federal aid are expected to make
satisfactory academic progress as outlined in the chapter on
Financial Information.
Graduation Requirements
Candidates for degrees must have completed 126 hours and all
curriculum requirements, have passed all prescribed examina-
tions, and be free of indebtedness to the university.
Exceptions to stated degree requirements and procedures
must be approved by the Curriculum Committee as the
representative body of the faculty in matters pertaining to the
curriculum.
Te minimum grade point averages required for gradua-
tion are :.o overall and :.o in music. A student taking a second
major must earn a :.o in that major in order for it to be certi-
ed on the transcript.
If requirements for graduation change, students may elect
to be bound by requirements published in the Undergraduate
Catalog in either their entering or their graduating year.
Degree Audit Reports
An online degree audit is available on YES to all Blair students,
showing total hours earned, degree requirements completed,
and those still to be met. Students should examine the audit
carefully with their faculty advisers. Problems or suspected
errors should be discussed immediately with the Blair registrar.
Credit by Departmental Examination
In certain circumstances, students may be awarded course
credit (a maximum of 8 hours) by departmental examination.
This procedure is distinct from the awarding of credit through
the College Board Advanced Placement Tests or the Interna-
tional Baccalaureate. Students apply for credit by examination
through the Blair registrar.
To earn credit by departmental examination, students
must be enrolled for at least :: hours, be in good standing, be
recommended by their advisers, and have the approval of the
appropriate department. In addition, students must seek prior
approval of their study plan through the associate deans oce.
Students may attempt to earn credit by examination in no more
than two courses in one semester, only once in any course in
one semester, and no more than twice in the same course.
Credit hours and grade are awarded on the basis of the
grade earned on the examination, subject to the policy of
the department awarding credit. Students have the option of
refusing to accept the credit hours and grade afer learning the
results of the examination.
Students enrolled for at least :: hours are not charged extra
tuition for hours earned through credit by examination, so
long as the amount of credit falls within the allowable limits
of an :8-hour tuition load, including no-credit courses and
courses dropped afer the change period. Students in this cat-
egory must pay a s,o fee for the cost of constructing, admin-
istering, and grading the examination. Since this cost has
already been incurred, students who refuse the credit hours
and grade are charged the s,o fee nevertheless. Full-time
students with a tuition load exceeding :8 hours and students
taking fewer than :: hours pay tuition at the regular rate, per
credit hour, with no additional fee.
Senior Re-examination
A candidate for graduation who fails not more than one course
in the final semester may be allowed one re-examination,
provided the course failed would prevent the students gradua-
tion, and provided the student could pass the course by pass-
ing a re-examination. Certain courses may be excluded from
re-examination. The re-examination must be requested through
the students associate deans office, and, if approved, it is
given immediately after the close of the last semester of the
students senior year. A student who passes the re-examination
will receive a D- in the course. The terms and administration
of senior re-examination are the responsibility of the school
that offers the course. Note: For engineering students taking
engineering courses, the senior re-examination policy applies if
a student fails not more than one course in the senior year.
Independent Study
Students must obtain permission to enroll in Independent
Study from the instructor of their choice prior to registration.
Independent Study authorization forms are available from
the Blair registrar and at blair.vanderbilt.edu/academics. The
instructors signature on the authorization form indicates
a willingness to supervise the Independent Study project. A
contract or study plan, approved by the instructor in con-
sultation with the appropriate department chair and the
associate dean, must be submitted to the Blair registrar by the
tenth calendar day after classes begin. If no plan is submitted,
the student will be dropped from Independent Study. An
Independent Study project should result in a substantial writ-
ten report, paper, or lecture/recital. The report, recording, or
some physical manifestation of the project should be retained
by the instructor. Independent Study projects proposed by
students for cross-school registration must be approved
through the mechanisms of both schools. Consult associate
deans from both schools for guidance.
A student may register for a maximum of , hours in
Independent Study in a semester. A student may count a total
of o hours in Independent Study toward the degree. A faculty
member may supervise no more than four students per semes-
ter in Independent Study projects.
267
B
Independent Study cannot substitute for courses which are
part of the curriculum.
Internships
The Center for Student Professional Development assists students
interested in internship opportunities in the music industry and
elsewhere; there are opportunities in many states of the U.S. and
also abroad, both during the academic year and in the summer. A
student serving as an intern may register for MUSO 280A, 280B,
or 280C as a corollary if credit is desired. Students with summer
internships that require an academic component must register
for credit. A maximum of 6 hours of internship credit may be
counted toward the degree. Students are responsible for finding
a faculty sponsor; a written study plan must be approved by the
faculty sponsor and the Blair associate dean no later than the
tenth day of classes. Internship paperwork is available on the Blair
School website at blair.vanderbilt.edu/academics.
Performance Instruction: B.Mus. Degree
Fees. Performance instruction fees are waived for B.Mus.
students.
Elective credit. B.Mus. students taking a second instrument
normally enroll in MUSP :,:-:o for : or : hours elective credit.
Consent of the instructor is required. B.Mus. majors who have
declared a minor instrument also register for MUSP instruction
at the :oo level; consent of the instructor and notification of the
Blair registrar are required.
Composition/Theory Majors. Students register for MUSP
performance courses at the :oo level. A minimum of o semes-
ters of study totaling o credit hours required.
Musical Arts Majors and Musical Arts/Teacher Education
Majors. Students register for MUSP courses in their primary
area. Freshmen and sophomores register for MUSP :oo-level
instruction. Juniors and seniors register for MUSP :oo-level
instruction. A minimum of 8 semesters totaling :o credit
hours required; performance instruction required every
semester in residence.
Performance Majors. Students register for MUSR perfor-
mance instruction in their primary area. Freshmen and sopho-
mores register for MUSR :oo-level instruction. Juniors and
seniors register for MUSR :oo-level instruction. A minimum
of 8 semesters totaling ,: hours (instrumental performance
majors) or :8 hours (vocal performance majors) required;
performance instruction required every semester in residence.
Upper Divisional Hearing (Performance Majors Only)
Requirements for performance majors include an upper
divisional hearing in the sophomore year to determine continu-
ance in the performance degree program and permit subsequent
enrollment in upper division study at the 200 level. Students are
required to perform a program of twenty to thirty minutes for a
faculty committee convened by the studio instructor or by the
department chair. The committee will normally consist of the
students studio teacher and at least two additional members of
the department. Memorization is required as appropriate, and
accompaniment is expected where called for.
Te student must consult with the studio instructor regard-
ing appropriate repertoire. Instrumental selections must be
chosen from the solo repertoire and should represent diverse
historical periods. Percussionists must perform on key-
board percussion, timpani, and snare drum and/or multiple
percussion. String repertoire must include solo Bach. Pianists
must perform a ,o-minute memorized program of solo piano
literature representing at least three style periods. Vocal rep-
ertoire must include a minimum of ve songs of contrasting
periods and styles, using three languages (Italian, English, and
either French or German).
Failure to pass this hearing demonstrates a lack of the requi-
site skills to graduate in performance at Blair, necessitating trans-
fer to another degree program. A student may petition the faculty
once for a second hearing, with entirely dierent repertoire, to
take place before the end of the rst semester of the junior year.
Solo Recitals
Pre-Recital Hearing
All students (excepting composition) giving required recitals
and any student who wishes to give a recital in the Blair build-
ing must pass a hearing, held at least three weeks before the
recital. After establishing a recital date, the student, with guid-
ance from the studio instructor, will assemble a recital hearing
committee, consisting of two additional faculty members, one
of whom must be from outside the students performing area.
For musical arts/teacher education students, the committee will
normally consist of the studio instructor, a teacher education
faculty member, and at least one additional faculty member.
For non-required, non-credit recitals, the hearing committee
may be from within the department. For any recital involving
a students second performing medium, the student must seek
approval from the studio instructor and department chair of
the secondary and primary performing areas; in addition, a full-
time faculty member from the secondary performing area must
be part of the hearing committee. The student must notify the
recital hearing committee, in writing, of the hearing date, recital
date, time, and place. Senior composition recitals are screened
in advance at the department level.
For a required junior or senior recital, the repertoire
must encompass three major style periods, as appropriate to
the medium; at least one work in a modern idiom must be
included in either the junior or senior recital. Te hearing
committee should hear all of the recital repertoire. Grading of
the hearing is on a Pass/Fail basis, with written faculty com-
ments. If a student fails the hearing, another must be sched-
uled. Only two recital hearings in one semester are permitted.
Recital and Recital Committee
For recitals given for credit, the recital committee is the same
as the hearing committee whenever possible. The final grade
is a composite of those of the committee members, with the
studio instructors grade valued at 30 percent. Copies of com-
mittee members grades are kept by the instructor. Recitals not
given for credit are not graded; they involve a hearing commit-
tee but not a recital committee.
Extracurricular Performance
Students must be in good standing and have the consent of
their private instructors in order to participate in any extracur-
ricular performance activities, including in-school collabora-
tion, that are not required by a students degree program or
honor scholarship.
Recital Attendance
Each semester in residence, students (except graduating seniors
in their penultimate or final semester) are required to register
for and attend weekly student recitals/convocations on Thurs-
days at 3 p.m. and a minimum of six Blair faculty or profes-
sional concerts or their community equivalents as described on
the syllabus. Students must fulfill both aspects of the require-
ment to pass each semester. The course receives zero credit
hours but is graded on a Pass/Fail basis and listed on students
transcripts. Incompletes will not be granted except in the case of
documented medical emergency.
Students must register their attendance at each recital.
Two absences from Tursday afernoon recitals are permitted
each semester. Under extraordinary circumstances, make-up
assignments can be obtained from the recital attendance coor-
dinator with the permission of the associate dean. Students
must plan and keep up with their concert attendance. Except
for weekly student recitals, performances in which students
are participants do not fulll the attendance requirement for
the performer. Deadline for completion of all work is listed
on the course syllabus. Te rst failure would result in the loss
of the senior nal semester exemption. Additional failure(s)
would require students to enroll for additional semester(s)
until the seven required semesters are passed.
Change of Address
Any change of address should be reported to the Blair
registrar and also be submitted to the University Registrar
at yes.vanderbilt.edu. The university will consider notices or
other information delivered if mailed to the address currently
on file.
Leave of Absence
A student in good standing may, with the approval of the
associate dean, take leave of absence for one or two semesters.
Application forms, available from the Blair registrar, must be
submitted by 1 December for spring semester leave or by 1 May
for fall semester.
Students planning to study elsewhere while on leave
(elective courses) must have prior approval if credits are to
be transferable. Upon the students return, a performance
examination during the rst two weeks of the semester may
be needed to determine the students standing in the major
performance area.
Registration notications are emailed to students on leave.
A student failing to register at the conclusion of the stated
leave will be withdrawn from the university and must apply
for readmission.
Students who have been on leave of absence and not
enrolled for three or more semesters or who leave the university
while on academic probation must re-audition and achieve the
approval of the associate dean prior to readmission.
Withdrawal from the University
Students proposing to withdraw from the university during
any semester must report to the Blair associate dean to initiate
proper clearance procedures. Students are graded on the same
basis as if withdrawing from a course. Students who withdraw
before the end of the eighth week of classes receive a partial
refund of tuition (see the chapter on Financial Information).
Students intending to withdraw from the university for the fol-
lowing semester should notify the Blair registrar by 1 December
for spring semester or by 1 May for the fall semester.
Students who have withdrawn from the university without
ling a Leave of Absence form must apply for readmission if
they wish to return.
269
B
Founders Medal
The Founders Medal, signifying first honors, was endowed
by Commodore Cornelius Vanderbilt as one of his gifts to the
university. The recipient is named by the Dean after consid-
eration of faculty recommendations as well as grade point
averages of the years highest ranking graduates.
Academic Honors Designation
Honors, which are noted on diplomas and published in the
Commencement Program, are earned as follows:
Summa Cum Laude. Students whose grade point average
equals or exceeds that of the top , percent of the previous
years Vanderbilt graduating seniors.
Magna Cum Laude. Students whose grade point average
equals or exceeds that of the next 8 percent of the previous
years Vanderbilt graduating seniors.
Cum Laude. Students whose grade point average equals
or exceeds that of the next :: percent of the previous years
Vanderbilt graduating seniors.
Honors Program in Music Literature and History
The honors program in music literature and history is
designed to afford superior students the opportunity to pursue
more intensive work within the field of musicology or ethno-
musicology, culminating in the preparation of a senior honors
thesis. The course of study includes seminar work as well as
independent study and writing under the supervision of a
thesis adviser. Students who want to do honors work should
contact the chair of the musicology department in the fall of
their junior year. Departmental approval of a formal honors
thesis prospectus must take place prior to registration for
MUSL 299A in spring of the junior year or fall of the senior
year. Minimum requirements are a 3.0 GPA overall and 3.3 in
music literature and history courses.
Students accepted into the program must take a total of
credit hours: MUSL :A:B, Senior Honors Tesis (o
hours) and one course (beyond the MUSL core) chosen from
MUSL :o:, :::-:,8, :,, :,, :,:, :,,, :,o, :o:, :,8, or :
(, hours). In addition, successful completion of the honors
program requires an oral defense of the honors thesis before
a faculty committee. Tis defense will occur at the end of the
second semester of thesis enrollment. Tose enrolled in the
program who successfully complete its requirements with
distinction may graduate with Honors or Highest Honors in
music literature and history.
Deans List
The Deans List recognizes outstanding academic performance
in a semester. Students are named to the Deans List when they
earn a grade point average of at least 3.300 while carrying 12
or more graded hours, with no temporary or missing grades in
any course (credit or non-credit), and no grade of F.
Pi Kappa Lambda
Election to Pi Kappa Lambda National Music Honor Society
signifies superior accomplishment in the field of music. Stu-
dents elected to membership must be outstanding musically
and scholastically and ranked in the highest 20 percent of the
senior class or the highest 10 percent of the junior class. The
Eta Iota chapter was installed at Vanderbilt on April 8, 1992.
Professor Karen Ann Krieger serves as its president.
Awards and Prizes
Several awards are presented to students at the Blair School
of Music. Announcement is made at the final student recital/
convocation of the spring semester. Each carries a monetary
stipend. Awards, which are published in the Commencement
Program, are as follows:
THE MARGARET BRANSCOMB PRIZE is given annually to a Blair fresh-
man judged by the faculty to have the musical and personal qualities that
best exemplify the spirit and standards of the school. The prize was es-
tablished by family and friends in memory of Margaret Branscomb, wife of
the late Vanderbilt Chancellor Emeritus Harvie Branscomb.
THE SUE BREWER AWARD was established by the Songwriters Guild
Foundation in memory of Sue Brewer, who befriended many of Nashvilles
struggling songwriters in the late 1960s and 1970s. It is awarded for excel-
lence to a student pursuing a degree in guitar or composition/theory.
THE CONFROY-LIJOI JAZZ AWARD is given to a student in the Blair
Schools jazz program, to recognize excellence in jazz performance dur-
ing the year. The award, made by the entire faculty upon nomination by
the directors of the jazz ensembles, was established in 2005 by Mr. and
Mrs. Peter B. Lijoi in honor of their parents.
THE RICHARD C. COOPER AWARD was established in 2002 by the Pi
Delta Chapter of Phi Mu Alpha Sinfonia, to remember the outstanding
contributions made by Chris Cooper to the student experience of music at
Vanderbilt. Nominations are made by student organizations, recognizing
campus-wide leadership in music.
THE ROBIN DICKERSON AWARD was established in 1995 in honor of
soprano Robin Nell Dickerson, B.Mus. 94, by Blair faculty and students.
It is awarded by the voice faculty to an outstanding voice major for excel-
lence in performance and scholarship.
THE JEAN KELLER HEARD PRIZE is designed for a string student seeking
the Bachelor of Music degree. The scholarship fund was established by
the Vanderbilt Womens Club to honor violinist Jean Keller Heard, wife of
Vanderbilts fifth Chancellor, Alexander Heard. The fund continues to grow
as additional gifts in honor of Mrs. Heard are given to the school.
THE MAGDA LACHS AWARD was established in honor of Magda Lachs
in 2008 and is made to an outstanding voice or orchestra student who
participated in the current years Vanderbilt Opera Theatre production.
THE S. S. AND I. M. F. MARSDEN AWARD IN MUSICAL SCHOLARSHIP
is awarded annually to a Blair student for excellence in scholarship, e.g., a
major written paper, on a topic that lies outside the normal core of scholar-
ship. Honors projects, independent study projects, and substantial class
Honors
Blair School of Music / Honors
papers are eligible for consideration for the award. Only papers of extraor-
dinary scope, additional outside recognition, or unusual range beyond the
normal core of scholarship are eligible for the Marsden Award.
THE DELENE LAUBENHEIM MCCLURE MEMORIAL PRIZE is given to a
voice major who exhi bits excellence in opera performance. This prize was
established by alumni and faculty of the Blair School of Music and other
friends of Delene Laubenheim McClure, B.Mus. `91, whose untimely death
foreshortened a promising career in music. Through her participation in
Blairs first opera productions, Dede helped set a standard for excellence
in performance.
THE MICHELSON COLLABORATIVE ARTS AWARD is presented to a
singer, pianist, or voice/piano duo for exceptional performance in collab-
orative arts.
THE ACHIEVEMENT IN TEACHING RECOGNITION AWARD is presented
by the piano faculty to a senior pianist who has demonstrated superior
abilities in both private and group teaching. The recipient must intend to
teach music professionally in an independent studio, in a classroom, or at
the collegiate level. The prize is a one-year membership to the Tennessee
and Nashville Area Music Teachers Association or the equivalent.
THE ELLIOT AND AILSA NEWMAN PRIZE is presented annually to a
promising clarinetist or woodwind student for excellence in performance.
The prize was endowed by Ailsa Mackay Newman in memory of her hus-
band, Vanderbilts Werthan Professor of Experimental Medicine, 1952
1973, and an avid amateur clarinetist.
THE L. HOWARD ZEKE NICAR AWARD is presented annually to the
most outstanding woodwind or brass student. The award was established
by family, faculty, and friends to honor the memory of the Blair Schools
first Assistant Dean for Admissions.
THE EXCELLENCE IN PERCUSSION PERFORMANCE AWARD was es-
tablished in memory of James Harrison Griggs, an outstanding percussion
major, B.Mus. `94. This award is given to a percussion major for excellence
in performance.
THE PRESSER AWARD is presented to a junior for musical and academic
excellence and is the most prestigious honor available to a junior at Blair. At
least one third of the students credits must be outside the field of music.
The recipient must have a cumulative grade point average of 3.25 and have
been named to the most recent Deans List. The award honors the memory
of Theodore Presser, American publisher and musical philanthropist.
THE DAVID RABIN PRIZE was established by family and friends in memory
of Dr. David Rabin, professor of medicine and of obstetrics and gynecol-
ogy at Vanderbilt University Medical School, 1975 to 1984. The prize is
awarded annually, based on excellence in musical performance, to a stu-
dent enrolled at Blair. The fund continues to grow as contributions in honor
of Dr. Rabin are given to the school.
THE SIGMA ALPHA IOTA COLLEGE HONOR AWARD is given annually to
the most outstanding member of the chapter based on scholarship, musi-
cianship, participation in school activities, and contribution to the fraternity
chapter. The award was established in 2000.
THE SIGMA ALPHA IOTA SCHOLARSHIP AWARD is given to the gradu-
ating senior who has attained the highest scholastic average during her
college years. The award was established in 2000.
THE BLAIR VOLUNTEER SERVICE THROUGH MUSIC AWARD was new-
ly instituted in 2009 by an anonymous donor and recognizes an outstand-
ing student who has used music in service to others.
THE MARTIN WILLIAMS AWARD was established in memory of Martin Wil-
liams, former director of the Smithsonian Institutions Jazz Program and
Adjunct Professor of Jazz History at Blair. It is presented to the student writ-
ing the most outstanding class paper during the academic year. The fund
continues to grow as gifts honoring Mr. Williams are given to the school.
271
B
Composition/Theory, Musicianship, and
Keyboard Harmony
MUSC 100. Songwriting and Elements of Music Theory. Introduction
to fundamental elements of music as they apply to popular songwriting
techniques. Selected readings on the technical and aesthetic facets of
songwriting. Listening analysis and discussion of songs in a variety of
current styles. Selected aural skills as they relate to the songwriters
craft. Class visits by successful songwriters. Designed for students
with little or no technical training in music. Does not count toward a
major or minor in music. FALL, SPRING. [3] Walker.
MUSC 102. Songwriting II. Project-based class designed to refine and
advance skills developed in MUSC 100. Focuses on effective musical
and lyrical thematic treatment. Extensive study of rewriting techniques;
frequent performances of student compositions. Selected readings on
the technical and aesthetic facets of songwriting. Listening, analysis,
and discussion of songs in a variety of current styles. Occasional Mon-
day night sessions with guest songwriters and experts in the field. Does
not count toward a major or minor in music. May be repeated once for
credit. Prerequisite: MUSC 100. FALL, SPRING. [3] Walker.
MUSC 104. Nashville Number System for Songwriters/Performers.
Designed for songwriters and practitioners who may not read tradition-
al music. Introduction to intervals, major and minor scales, chords and
chord extensions, inversions, time signatures, note values, the Nash-
ville Number System, song forms, charting original songs and classic
hits. Includes observation and discussion of studio work. Does not
count toward major or minor in music. FALL. [1] Blackmon.
MUSC 118. Mozart. The music of Wolfgang Amadeus Mozart. Tech-
niques for listening to different genres of classical music. Emphasis
on style and structure, music theory and history, and Mozarts life and
character. No musical background assumed. Does not count toward
major or minor in music. SPRING. [3] Bingham.
MUSC 120A. Survey of Music Theory. Presents 18th- to 20th-century
harmonic practice. Designed to develop music theory skills through writ-
ten exercises of figured and unfigured basses; harmonization of melo-
dies; and study of ear training, using sightsinging exercises and melodic
and harmonic dictation. Not open to students who have completed
MUSC 170 or 171. Does not count toward a major in music. [3] Deakin.
MUSC 120B. Survey of Music Theory. Presents 18th- to 20th-century
harmonic practice. Designed to develop music theory skills through
written exercises of figured and unfigured basses; harmonization of
melodies; and study of ear training, using sightsinging exercises and
melodic and harmonic dictation. Prerequisite: MUSC 120A. Not open
to students who have completed MUSC 170 or 171. Does not count
toward a major in music. [3] Deakin.
MUSC 121. Music Theory I: Tonal Harmony and Voice-Leading. Fun-
damentals of tonal harmony (scales, functional triads, seventh chords),
introduced through the principles of Bach chorale style. Emphasis on
voice-leading exercises. [2] (Not currently offered)
MUSC 121E. Ear Training and Sightsinging I. Aural skills developed
through sightsinging and harmonic/melodic dictation. Prerequisite: abil-
ity to match pitch; successful completion of placement exam. Corequi-
site: MUSC 121 or consent of instructor. [1] (Not currently offered)
MUSC 122. Music Theory II: Tonal Harmony and Voice-Leading.
Advanced tonal harmony (secondary dominants, modulations, altered
chords, etc.), demonstrated through Bach chorale style, with further il-
lustrations from music of various historical periods. Prerequisite: C or
above in 121. [2] (Not currently offered)
MUSC 122E. Ear Training and Sightsinging II. Continuation of 121e.
Usually taken concurrently with 122. Prerequisite: 121E. Strongly rec-
ommended: C or above in 121E. SPRING. [1] (Not currently offered)
MUSC 123E. Ear Training and Sightsinging III. Continuation of aural
skills developed in 121E and 122E. Prerequisite: 122E. Strongly recom-
mended: C or above in 122E. (Not currently offered)
MUSC 124E. Ear Training and Sightsinging IV. Continuation of aural
skills developed in 123E. Prerequisite: 123E. Strongly recommended:
C or above in 123E. (Not currently offered)
MUSC 130. Introductory Keyboard Harmony. Introduction to reper-
toire, technique, transposition, harmonization, improvisation, and sight
reading. Designed for B.Mus. students who have no piano background.
Provides preparation for the Keyboard Harmony sequence. FALL. [1]
May, Koutsoukos.
MUSC 131A. Keyboard Harmony I. Development of basic technique,
reading proficiency, elementary transposition. Diatonic harmony at the
keyboard. Prerequisite: placement test. Not open to students who have
completed 133A or 133B. [1] Koutsoukos, May.
MUSC 131B. Keyboard Harmony II. Development of basic technique,
reading proficiency, elementary transposition. Diatonic harmony at the
keyboard. Prerequisite: placement test or MUSC 131A. Not open to
students who have completed 133A or 133B. [1] Koutsoukos, May.
MUSC 132A. Keyboard Harmony III. Harmonization of melodies, im-
provisation of small musical forms, transposition in all keys with ca-
dences and modulations, four-part score reading. Prerequisite: 131B.
Strongly recommended: C or above in 131B. Not open to students
who have completed 133A or 133B. [1] Koutsoukos, May.
MUSC 132B. Keyboard Harmony IV. Harmonization of melodies, im-
provisation of small musical forms, transposition in all keys with ca-
dences and modulations, four-part score reading. Prerequisite: 132A.
Strongly recommended: C or above in 132A. Not open to students
who have completed 133A or 133B. [1] Koutsoukos.
MUSC 133A. Accelerated Keyboard Harmony I. Functional skills are
reinforced with pedagogy, music theory, harmony, and ear training.
Topics include improvisation, musical styles, and computer MIDI tech-
nology. For keyboard majors or by consent of instructor. Prerequisite:
placement test. Not open to students who have completed 131A-131B
or 132A-132B. FALL. [2] Krieger.
MUSC 133B. Accelerated Keyboard Harmony II. Intensive study of
materials presented in 133A. Prerequisite: 133A. Strongly recommend-
ed: C or above in 133A. Not open to students who have completed
132A-132B. SPRING. [2] Krieger.
MUSC 141. First-Year Composition I. Individual instruction and semi-
nar. A variety of media, styles, and forms. Electronic and experimental
techniques. Open only to composition/theory majors; instructor as as-
signed. Corequisite: 230. [1] Kurek, Link, Michael Rose, Slayton.
MUSC 142. First-Year Composition II. Individual instruction and sem-
inar. A variety of media, styles, and forms. Electronic and experimental
techniques. Open only to composition/theory majors; instructor as as-
signed. Prerequisite: 141. [2] Kurek, Link, Michael Rose, Slayton.
MUSC 143. Composition I. Individual instruction and seminar. A variety
of media, styles, and forms. Electronic and experimental techniques.
Open only to composition/theory majors; instructor as assigned. Pre-
requisite: 142. [3] Kurek, Link, Michael Rose, Slayton.
MUSC 144. Composition II. Individual instruction and seminar. A vari-
ety of media, styles, and forms. Electronic and experimental techniques.
Open only to composition/theory majors; instructor as assigned. Pre-
requisite: 143. [3] Kurek, Link, Michael Rose, Slayton.
MUSC 170. The Syntax of Music. Basic elements of music and nota-
tion (including computer notation), introduced through a wide variety of
styles. Includes non-tonal and non-Western repertoire. Reinforcement of
Blair School of Music Courses
Blair School of Music / Courses
the elements of MUSC 170E / Musicianship Level I throughout. Coreq-
uisite: MUSC 170E. FALL. [2] Deakin, Slayton, Carl Smith.
MUSC 170E. Musicianship Level I. Examination of the sound proper-
ties of pitches, intervals and rhythms and their notation in real time.
Focus is on diatonic scales and modes. Lectures, discussion, real-time
listening experiences, dictation, sight-singing, score reading, and im-
provisation are integrated throughout the course. Corequisite: MUSC
170. FALL. [1] McGuire, Williams.
MUSC 171. Harmonic Idioms of the Common Practice Period. Prin-
ciples of harmonic progression in the context of music from the com-
mon practice period. Includes figured bass realization, harmonization,
analysis, composition, contrapuntal idioms, modulation. Prerequisite:
B or above in MUSC 170; corequisite: MUSC 171E. SPRING. [3] Kurek,
Michael Rose, Carl Smith, Slayton.
MUSC 171E. Musicianship Level II. Continuation of Musicianship
Level I. Focus on the employment of pitches, intervals and rhythms
in functional tonal contexts. Lectures, discussion, real-time listening
experiences, dictation, sight-singing, score reading, and improvisation
are integrated throughout the course. Prerequisite: MUSC 170E; coreq-
uisite: MUSC 171. SPRING. [1] McGuire, Williams.
MUSC 172. Repertoire Analysis. A study of diverse and interrelated
harmonic, melodic, rhythmic, and structural aspects of the musical rep-
ertoire from the common practice era. Approaches to understanding
various historical styles through composition and through analysis and
interpretation of representative works from each era. Includes study of
invention and fugue. Prerequisite: C or above in MUSC 171; corequi-
site: MUSC 172E. FALL. [3] Michael Rose, Kurek, Link, Slayton.
MUSC 172E. Musicianship Level III. Continuation of Musicianship II.
Focus on tonal modulation and chromaticism. Lectures, discussion,
real-time listening experiences, dictation, sight-singing, score reading,
and improvisation are integrated throughout the course. Prerequisite:
MUSC 171E; corequisite: MUSC 172. FALL. [1] McGuire.
MUSC 173. Musical Expansion: The Twentieth Century to the Present.
Late-Romantic, modernist, and post-modern compositional practices,
including freely chromatic and non-functional harmony, ordered and
unordered sets, post-tonal formal design, contemporary rhythmic
devices, indeterminacy, and quotation. Prerequisite: C or above in
MUSC 172; corequisite: MUSC 173E. SPRING. [3] Link, Kurek, Michael
Rose, Slayton.
MUSC 173E. Musicianship Level IV. Continuation of Musicianship III.
Focus on the employment of pitches, intervals and rhythms in non-
tonal contexts. Lectures, discussion, real-time listening experiences,
dictation, sight-singing, score reading, and improvisation are integrated
throughout the course. Prerequisite: MUSC 172E; corequisite: MUSC
173. SPRING. [1] McGuire.
MUSC 216. Computer Music. The computer as a tool for musical
sound synthesis, digital instrument design, and computer-assisted
composition and performance. Styles and techniques in computer mu-
sic in the commercial and fine arts. Programming and computer com-
position. Prerequisite: any computer science course or consent of the
instructor. SPRING. [3] (Not currently offered)
MUSC 220. Music Theory III: Tonal Harmony and Tonal Counter-
point. Continuation of 122. Tonal harmony and voice leading, includ-
ing elements of chromatic harmony and elements of counterpoint and
fugue in the inventions and fugues of J. S. Bach. Prerequisite: 122.
Strongly recommended: C or above in 122. (Not currently offered)
MUSC 221. Music Theory IV: Form in Tonal Music. A study of the
formal principles of music, beginning with the phrase and progressing
through large-scale standard forms (sonata, rondo, etc.). Examination
of scores in a variety of styles and textures, including scores exhib-
iting chromatic harmony. Concepts applied to original compositions.
Prerequisite: 220. Strongly recommended: C or above in 220. (Not
currently offered)
MUSC 222. Music Theory V: Post-Romantic and Twentieth-Century
Techniques. Analysis of the scores and compositional techniques of
Debussy, Schoenberg, Webern, Stravinsky, Bartk, Crumb, and others.
Concepts applied to original compositions. Prerequisite: 122E, 221. [2]
(Not currently offered)
MUSC 223. Techniques of Choral Composition. Technical and aes-
thetic considerations involved in arranging and composing for combi-
nations of voices, from two-part to larger choral ensembles, accom-
panied and unaccompanied. Score analysis and composition projects.
Prerequisite: 122 or 171 or consent of instructor. FALL. [3] Carl Smith.
(Offered alternate years)
MUSC 224. Orchestration. Technical and aesthetic considerations in
composing or transcribing for individual orchestral instruments, sec-
tions, and full orchestra. Score analysis and composition projects. Pre-
requisite: 122 or B or above in 170. SPRING. [3] Kurek.
MUSC 225. Post-tonal Analysis. Exploration of the post-tonal analyti-
cal techniques through intensive study of selected works of composers
from the early 20th century to the present, including Debussy, Scriabin,
Schoenberg, Berg, Webern, Stravinsky, Copland, Dallapiccola, Boulez,
Cage, Berio, Feldman, Lachenmann. Prerequisite: MUSC 173 or 222.
SPRING. [2] Slayton. (Offered alternate years)
MUSC 226. Chromatic Harmony in the Romantic Era. Intensive anal-
ysis of challenging standard repertoire by three generations of Roman-
tic composers, whose ingenious extensions of Classic-period strate-
gies of tonal organization require interpretive tools beyond the scope of
the core theory curriculum. Investigation of both large and small forms.
Focus on relationships between harmonic and structural symmetries.
Prerequisite: MUSC 173 or 222. [3] Michael Rose.
MUSC 227. Individual Theory Instruction (Elective). Individual in-
struction and seminars. Score analysis and style-study composition.
Prerequisite: MUSC 173 or 221 and consent of instructor. May be re-
peated for credit. [Variable credit: 1-3 each semester] Music theory
faculty.
MUSC 228. Junior Thesis. Completion of an extended paper based
upon musical analysis. Open only to composition/theory majors. Topic
subject to approval. Progress monitored via tutorials. Completion of
Junior Thesis is prerequisite for MUSC 299 and MUSC 241C. [1] Kurek,
Link, Michael Rose, Slayton.
MUSC 229. Senior Thesis. Completion of an extended paper based
upon musical analysis. Open only to composition/theory majors. Topic
subject to approval. Progress monitored via tutorials. [1] Kurek, Link,
Michael Rose, Slayton.
MUSC 230. Introduction to Composition. An introduction to compo-
sitional techniques including a study of composers and their work. Prin-
ciples of scoring, the study of notation including experimental types.
Prerequisite: MUSC 120A, 170, or equivalent skills. FALL. [3] Kurek.
MUSC 230E. Composition (Elective). Individual instruction and semi-
nars. A variety of media, styles, and forms. Electronic and experimen-
tal techniques. Prerequisite: 230 and consent of instructor. [Variable
credit: 1-3 each semester] Kurek, Link, Michael Rose, Slayton.
MUSC 241A. Advanced Composition I. Continuation of 143144. Open
only to composition/theory majors. A fourth credit may be elected with
instructor approval for focused opportunities such as analysis, repertoire
study, etc. [34 each semester] Kurek, Link, Michael Rose, Slayton.
MUSC 241B. Advanced Composition II. Continuation of 143144.
Open only to composition/theory majors. A fourth credit may be elected
with instructor approval for focused opportunities such as analysis,
repertoire study, etc. Prerequisite: MUSC 241A. [34 each semester]
Kurek, Link, Michael Rose, Slayton.
MUSC 241C. Advanced Composition III. Continuation of 143144.
repertoire study, etc. Prerequisite: MUSC 241B. [34 each semester]
MUSC 241D. Advanced Composition IV. Continuation of 143-144.
273
B
repertoire study, etc. Prerequisite: MUSC 241C. [34 each semester]
MUSC 248. Jazz Chord Extensions and Patterns. An in-depth study
of jazz chords, their relationships and progressions. Includes analysis,
transcription, and performance of advanced jazz chord extensions.
Prerequisite: MUSC 120B or 171-171E. Recommended: MUSO 131.
SPRING. [2] Adair.
MUSC 251. Historical Traditions in Composition and in Perfor-
mance. Topical approach to historical performance traditions, 1610
1897, addressed through musical analysis and through study of histori-
cal performance styles. Emphasis on application of these interpretive
skills to live performance. Prerequisite: MUSC 171. FALL. [3] Carl Smith.
MUSC 255. Early Keyboard Literature. Keyboard music from the late
fifteenth to the early eighteenth century. Compositional techniques and
performance practices; study of period instruments; literature for clavi-
chord, harpsichord, organ, and fortepiano. FALL. [2] Carl Smith. (Of-
fered alternate years)
MUSC 261. Counterpoint: 16th Century Principles. Techniques for
handling independent musical lines according to sixteenth-century
principles. Species counterpoint in two voices, composition in three
and four voices, and in non-modal and freely tonal styles, but not high
Baroque style. Prerequisite: MUSC 171. FALL. [3] Carl Smith. (Offered
alternate years)
MUSC 271E. Advanced Musicianship V. Further development of aural
skills, including techniques for hearing, singing, reading, and writing tonal
and atonal music in real time. Prerequisite: MUSC 173E. FALL. [1] Ploger.
MUSC 272E. Advanced Musicianship VI. Further development of aural
skills, including techniques for hearing, singing, reading, and writing tonal
and atonal music in real time. Prerequisite: 271E. SPRING. [1] Ploger.
MUSC 273E. Advanced Musicianship VII. A continuation of tech-
niques studied in MUSC 272E. Hearing in tonal and atonal music, in-
cluding extended harmonic and melodic structures, complex rhythmic
elements, and score reading. Discussion of pedagogical approaches to
teaching aural studies. Prerequisite: 272E. FALL. [1]
MUSC 274E. Advanced Musicianship VIII. A continuation of tech-
niques studied in MUSC 273E. Hearing in tonal and atonal music, in-
cluding extended harmonic and melodic structures, complex rhythmic
elements, and score reading. Discussion of pedagogical approaches to
teaching aural studies. Prerequisite: 273E. SPRING. [1]
MUSC 275E. Musicianship modules. Musicianship skills relevant to
specific musical idioms, composers, or genres as experienced in the
practice, rehearsal and performance of a musical repertoire. Modules
take place for seven consecutive weeks in the first or second half of the
semester, allowing students to cover one or more specialized subjects
during a single term. Modules whose subject matter is greater in scope
are offered for an entire semester on an alternate year basis. Prerequi-
site: MUSC 173E. [ or 1] Ploger. (Not currently offered)
MUSC 276E. Musicianship: Brahms and Romanticism; Solo and
Small Chamber Works. A study of skills needed to perform, aurally com-
prehend and mentally analyze the solo vocal and instrumental plus small
chamber works for strings, winds and keyboard of Brahms, with com-
parative studies of works of Schumann and Chopin. Lecture, discussion,
guided listening exercises, class performance participation and score
reading. Prerequisite: MUSC 173E. [1] Ploger. (Not currently offered)
MUSC 280. Musical Explorations: Bartk. In-depth study of the life
and music of Bla Bartk; includes detailed investigation of salient the-
oretical concepts, formal structures, and the composers integration of
various regional folk musics into his own works. Prerequisite: MUSC
173 or permission of instructor. SPRING [2] Slayton
MUSC 294. Special Topics in Music Theory. Advanced study in theory,
focused on various topics from year to year, including such areas as
advanced counterpoint, analysis of a specific composer, Schenkerian
analysis, etc. Prerequisite: Varies by topic. [2 or 3, as listed.] Kurek,
Link, Michael Rose, Slayton, Carl Smith.
MUSC 299. Senior Composition Recital. Planning, rehearsing, and
performing in a concert devoted solely to a students own work. Open
only to composition/theory majors. Corequisite: 241D. [1] Kurek, Link,
Michael Rose, Slayton.
MUSC 341A. Intensive Musicianship I. Intensive immersive musical
instruction modeled on language acquisition process, designed to pro-
vide musicians with practical skills in real-time aural processing, includ-
ing interval identification, reading and notating pitch and rhythm, facility
in each of the diatonic modes, aural tracking of multiple simultaneous
parts. Open by instructor approval. SUMMER. [1] Ploger.
MUSC 341B. Intensive Musicianship II. Intensive immersive musical
instruction modeled on language acquisition process, designed to pro-
vide musicians with practical skills in real-time aural processing, includ-
ing interval identification, reading and notating pitch and rhythm, facility
in each of the diatonic modes, aural tracking of multiple simultaneous
parts. Open by instructor approval. SUMMER. [1] Ploger.
MUSC 342. Intensive Musicianship III. Continuation of materials cov-
ered in Intensive Musicianship 341 A-B, including further real-time au-
ral processing, with discussion of pedagogical approaches to teaching
musicianship using a language-acquisition model. Prerequisite: 341B.
SUMMER. [1] Ploger.
Ensembles
All MUSE courses are repeatable. Students may accrue up to six
credits per semester of enrollment.
MUSE 100A. Blair Chorale. A variety of choral and vocal experiences
including chamber music, madrigals, individual small group coaching.
Reading sessions of choral and vocal repertoire from the Middle Ages
to current age. Guest lectures in a variety of topics ranging from vocal
physiology to Alexander Technique. FALL MODULE B. [] (Not currently
offered)
MUSE 101. Instrumental Ensembles. Open by audition to all Vander-
bilt students. Musicians participate in orchestra, wind ensembles, and/
or a variety of smaller ensembles on a rotational basis through the
course of the semester. Performances include symphonic repertoire
from the Classical and Romantic periods as well as standard and new
repertoire from Baroque to Contemporary. At least three formal con-
certs are presented each semester. [1] Fountain, Verrier.
MUSE 101A. Vanderbilt Symphonic Choir. Open by audition to all
members of the Vanderbilt community, this choral ensemble performs
literature requiring large forces, such as masses and oratorios. At least
one formal concert each semester and at least one work each year with
the Vanderbilt Orchestra. [1] Biddlecombe.
MUSE 101F. Vanderbilt Opera Theatre. Open by audition to all Vander-
bilt students. Performance material chosen from all forms of lyric theatre:
standard operatic repertoire, operetta, and American musical theatre. At
least one production is presented. FALL MODULE B. [1] Shay.
MUSE 101G. Collegium: Vocal Ensemble. Open by audition to all
Vanderbilt students, this small ensemble performs music of the Medi-
eval, Renaissance, and Baroque periods. At least one major concert is
presented each semester, often in conjunction with Collegium instru-
mental ensembles (202AC). [1] (Not currently offered)
MUSE 102. Accompanying Techniques. Basic techniques of vo-
cal and instrumental collaboration. Choral/orchestral score reading,
orchestral reductions, continuo realization, modern editions of early
music, musical terms, diction, and ensemble techniques. Performance
of vocal and instrumental accompaniments. Both group and individual
coaching. Open only to B.Mus piano majors in fall; by consent of in-
structor in spring. [1] Melissa Rose.
MUSE 131. Jazz Ensemble: Big Band. Open by audition to all Vander-
bilt students, this ensemble performs both traditional and modern jazz
styles, including dance band, swing, contemporary, and charts currently
under development. Improvisation, jazz timbres, and other idiomatic
concepts explored through lecture-demonstration and performance. At
least one concert is presented each semester. [1] Billy Adair.
MUSE 132. Jazz Ensemble: Small Combo. Open by audition to all
Vanderbilt students. Provides focused laboratory training for perfor-
mance of composed and improvised small combo jazz traditions. Dis-
cussion and application of techniques associated with solo, sectional,
and ensemble performance in jazz. At least one concert is presented
each semester. [1] Spencer.
MUSE 150A. Steel Drum/Pan Ensemble. Open to all members of the
Vanderbilt community, this course provides a laboratory and perfor-
mance experience drawing on Caribbean steel drums/pans with em-
phasis on the music and dance repertories of the island of Trinidad.
Lecture-demonstrations and rehearsals in one weekly two-hour ses-
sion. At least one public performance each semester. No previous ex-
perience required. [1] Britain.
MUSE 150B. Steel Drum/Pan Ensemble. Open to all members of the
mance experience drawing on Caribbean steel drums/pans with em-
phasis on the music and dance repertories of the island of Trinidad.
Lecture-demonstrations and rehearsals in one weekly two-hour ses-
sion. At least one public performance each semester. Ability to read
musical notation required. [1] Britain.
MUSE 150C. Steel Drum/Pan Ensemble. Open to all members of the
mance experience drawing on Caribbean steel drums/pans with empha-
sis on the music and dance repertories of the island of Trinidad. Lecture-
demonstrations and rehearsals in one weekly two-hour session. At least
one public performance each semester. Ability to read musical notation
required. Prerequisite: MUSE 150A or 150B. [1] Britain.
MUSE 171. African Performing Ensemble. Open to all members of the
Vanderbilt community, this course provides a laboratory and performance
experience drawing on traditional African musical instruments (drums,
percussion, winds) with an emphasis on West African (Ghana) and East
African (Uganda) music and dance repertories. Lecture-demonstrations
and rehearsals in one weekly two-hour session. At least one public perfor-
mance each semester. No previous experience required. [1] Ahima.
MUSE 201A. Blair Chamber Choir. Open by audition to all Vanderbilt
students, this select 1624 voice chamber ensemble performs music
in a variety of styles. At least one formal concert each semester. [1]
Biddlecombe.
MUSE 201B. Vocal Accompanying. Introduces pianists to collabora-
tion with singers. Weekly coaching with piano instructor and 5 hours
practice/rehearsal per week. Focus on standard art song and opera
repertoire. Open by consent of instructor. [Variable credit: 12 each
semester] Dorfman, Nies, Melissa Rose.
MUSE 201D. Vocal Chamber Music. Open by consent of the instructor.
One hour weekly coaching for vocal/instrumental duos or ensembles, in-
cluding singer/piano duos. Two hours of additional rehearsal each week.
[Variable credit: , 1, or 2 each semester] Dorfman, Melissa Rose.
MUSE 202A. Blair Collegium: Viols. Open by audition to all Vanderbilt
students or upon recommendation of the private instructor, the small
instrumental ensembles are devoted to the performance of early music
on authentic instruments. 12 hours of rehearsal each week. [1] (Not
currently offered)
MUSE 202B. Blair Collegium: Recorders. Open by audition to all
Vanderbilt students or upon recommendation of the private instruc-
tor, the small instrumental ensembles are devoted to the performance
of early music on authentic instruments. 12 hours of rehearsal each
week. [1] (Not currently offered)
MUSE 202C. Blair Collegium: Mixed Ensembles. Open by audition to
all Vanderbilt students or upon recommendation of the private instruc-
tor, the small instrumental ensembles are devoted to the performance
of early music on authentic instruments. 12 hours of rehearsal each
week. [1] (Not currently offered)
MUSE 202D. Blair Collegium: Continuo. Open by audition to all Vander-
bilt students or upon recommendation of the private instructor, the small
instrumental ensembles are devoted to the performance of early music on
authentic instruments. 12 hours of rehearsal each week. [1] Carl Smith.
MUSE 204. Guitar Ensemble. Open by consent of instructor. [1]
Johns, Phillips.
MUSE 206. Brass Chamber Ensembles. Open by audition to all
Vanderbilt students, this course incorporates several different chamber
experiences for brass players, ranging from duo to a large ensemble of
1020 brass players. Performs concert repertoire from the late Renais-
sance to Contemporary. At least one formal concert is presented each
semester. [ or 1] (Not currently offered)
MUSE 207. Saxophone Ensemble. Open by consent of instructor. [1]
Utley.
MUSE 209. Harp Ensemble. Open by consent of instructor. [1] Shaffer.
MUSE 210. Percussion Ensemble. Open by consent of instructor to
all Vanderbilt percussionists, this ensemble performs repertoire from the
1930s (works by composers such as Harrison, Cowell, Cage, et al.) to
the current influences of De La Guarda, Blue Man Group, technology,
multi-media, and broad theatrical concepts. Group sizes and use of a
conductor vary according to repertoire. At least one formal concert per
semester. [1] Holland.
MUSE 212. Fiddle Ensemble. Open by audition to all Vanderbilt stu-
dents with fiddling experience. One hour weekly coaching by visiting
fiddlers from the community. Fiddle tunes, harmonies, and improvisa-
tion ideas in various styles of fiddle music, including old-time, bluegrass,
swing, Celtic, and contemporary. One performance each semester. [1]
Combs, Plohman.
MUSE 215. Chamber Music: Percussion. Open to percussion majors
and minors. Size of ensembles will vary. One hour weekly coaching and
two hours of additional rehearsal (independent of coaching) expected
each week. [ or 1] Holland, Wiggins.
MUSE 221. Instrumental Chamber Music. Open to all Vanderbilt stu-
dents by audition or upon recommendation of the private instructor.
Size of ensembles may vary. One hour weekly coaching. Two hours of
additional rehearsal each week. [Variable credit: , 1, or 2 each semes-
ter] Dorfman, Hauser, Jackson, Kochanowski, Kolkay, Long, Melissa
Rose, performance faculty.
MUSE 222. Chamber Music: Instrumental Accompanying. Introduc-
es pianists to collaboration with instrumentalists. Weekly coaching with
piano instructor and five hours practice/rehearsal per week. Standard
instrumental repertoire will be assigned. Open by consent of instructor.
[Variable credit: , 1, or 2 each semester] Dorfman, Nies, Melissa Rose.
MUSE 223. Chamber Music: Sonata Class for Strings and Piano.
Open by consent of instructor. Two hours of class and at least one
hour of additional rehearsal each week. [Variable credit: 1 or 2 each
semester] Dorfman, Plummer.
MUSE 224. Chamber Music: String Quartet. Open by consent of instruc-
tor. One hour of coaching and at least two hours of additional rehearsal
each week. [Variable credit: , 1, or 2 each semester] Kochanowski.
MUSE 225. Chamber Music: Brass Quintet. Open by consent of in-
structor. [ or 1] Cox, Long.
MUSE 226. Chamber Music: Woodwind Quintet. Open by consent of
instructor. [ or 1] Dikeman, Hauser, Jackson, Kolkay.
Music Literature and History
MUSL 103. Musical Theatre in America: A Cultural History. From eigh-
teenth century melodrama and vaudeville through the musicals of the
1940s and 1950s to the contemporary emphasis on integration of spec-
tacle, dance, and other theatrical arts. Readings, live productions, guest
lecturers, and film. SPRING. [3] Lovensheimer. (Offered alternate years)
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MUSL 115F. First-Year Writing Seminar. Independent learning and
inquiry in an environment in which students can express knowledge
and defend opinions through class discussion, oral presentations, and
written expression. Topics vary. Open to freshmen only. FALL. [3] Mu-
sicology and ethnomusicology faculty.
MUSL 121W. Music in Western Culture. An overview of music in the
Western art tradition, including its basic historical periods, styles, genres
and disciplines. Tangible applications of historical, analytical, and cul-
tural thinking to musical performance. Guided discussion, varied writing
assignments, and presentations. Prerequisite: Open to B.Mus. students,
declared music minors/second majors, or with demonstrated musical lit-
eracy and permission of instructor. SPRING. [3] Musicology faculty.
MUSL 122. Music as Global Culture. Music and musical cultures
from around the world. Students will approach indigenous music theo-
ries on their own terms in order to understand and complement the
complexities of contemporary Western Music performance styles and
expectations. Emphasis on fundamental elements (e.g., rhythm, pitch,
harmony, and form) of diverse musical practices. Transcription, nota-
tion, and analysis of a variety of melodic and rhythmic forms. Not open
to students who have completed MUSL 160. Prerequisite: Open to
B.Mus. students, declared second majors, or with demonstrated musi-
cal literacy and permission of instructor. FALL. [3] Fry.
MUSL 140. Introduction to Music Literature. An introduction to the
literature of music from 600 C.E. to the present through a study of se-
lected works. Extensive listening is required. Not open to students who
have completed MUSL 121W or 141. Does not count toward a major in
music. FALL, SPRING. [3] Hime.
MUSL 141. Survey of Music Literature. A genre-based study of
music of the Western Art tradition in comparative contexts. Selected
non-Western repertory. Emphasis on aural analysis and on writing and
research techniques. Designed for music majors, minors, and others
with appropriate musical background. Not open to students who have
completed MUSL 140. [3]. (Not currently offered)
MUSL 143. The Concerto. A close study of representative works, from
the Baroque invention of the concerto principle up to modernist and con-
temporary adaptations. Focus on structural listening. No previous train-
ing in music required. FALL. [3] Michael Rose. (Offered alternate years)
MUSL 144. The Symphony. Orchestral literature with emphasis on the
evolution of symphonic form and style, through the study of selected
masterworks of the standard repertoire. FALL. [3] Hime, Michael Rose.
MUSL 145. Survey of Choral Music. Choral literature, sacred and sec-
ular, from the Renaissance to the present, with emphasis on a study of
selected masterworks from each period. SPRING. [3] Hime.
MUSL 147. American Music. A history of music in the United States,
1620 to the present. Distinctly American musical traditions such as
shape-notes, minstrelsy, jazz, twentieth-century syntheses. Recom-
mended: MUSL 121W, 140, or 141, or music-reading skills sufficient to
follow a score. FALL. [3] Lovensheimer.
MUSL 148. Survey of Jazz. A survey of jazz history, with particular
attention to the major composers, Jelly Roll Morton, Duke Ellington,
and Thelonius Monk, who gave the music synthesis and form; and to its
major innovative soloists, Louis Armstrong, Charlie Parker, and Ornette
Coleman, who renewed its musical language. FALL, SPRING. [3] Fry.
MUSL 149. American Popular Music. Historical study of ways the
culture of a nation is reflected and sometimes shaped by the chosen
musics of the groups comprising the American salad bowl. Topics
include audience reception; production and consumption; multicultur-
alism; and meaning. SPRING. [3] Fry.
MUSL 151. The Blues. Downhome, classic, Chicago, and urban blues-
history, musical structure, musical styles, singers lives, and meanings
of blues lyrics. The current blues revival, blues and tourism, race and
revisionist blues scholarship, and the relation of blues to African Ameri-
can poetry and fiction. Artists such as Ma Rainey, Charley Patton, Rob-
ert Johnson, Lightnin Hopkins, Muddy Waters, B.B. King, Buddy Guy,
Robert Cray. SPRING. [3] Fry.
MUSL 152. Country Music. A musical and cultural survey of the tal-
ents, traditions, and trends of country music from its Colonial roots to
its current status as a multi-million dollar global industry. Focus on the
music, creators, and performers of that music and its cultural and social
contexts. FALL, SPRING. [3] Cooper.
MUSL 153. History of Rock Music. History and development of rock
and roll music and its performance from the 1950s to the present. Major
artists from each decade, subgenres (rockabilly, R&B, folk, soul, metal,
pop, alternative, etc.), and technological, cultural, and economic devel-
opments that helped shape the music. FALL, SPRING. [3] Gunderman.
MUSL 154. Music and the Fall of Segregation. A study of how music,
specifically swing and jazz from the 1930s and 40s, rock & roll and
rhythm & blues in the 1950s, and soul music in the 1960s, impacted
segregation and the Civil Rights Movement. Case studies and personal
reflections from the perspective of a studio musician, record producer,
and record company executive. Films, recordings, and oral histories of
artists and producers. FALL, SPRING. [3] Buckingham.
MUSL 160. World Music. World music as a cultural product; selected
musics of Africa, Native America, India, Indonesia, and African America.
Topics include music and religion, popular music, field work methodol-
ogy, and gender issues. Not open to students who have completed
MUSL 122. FALL. [3] Barz, Fry.
MUSL 171. African Music. A survey of selected traditional and popular
music of Africa. Historical, social, and cultural contexts; listening; some
performances in class. SPRING. [3] Barz.
MUSL 183. Music, the Arts, and Ideas. The changing historical rela-
tionships among music, literature, fine arts, and philosophy. Musical
developments as responses to social, political, and economic circum-
stances. FALL. [3] Link.
MUSL 184. Love and Death in Music. Perspectives on two great prob-
lems of human life throughout the history of Western music. Themes
include idealized love, sexual pathology, love and realism, love of God,
confronting death, transcending death. Connections of music to visual
arts, literature, film. No musical background required. [3] Michael Rose.
MUSL 185. Ethics and Music. Diverse ways in which Western musi-
cal works have communicated values about what kind of life to live.
Contrasting themes include goodness and amorality, holiness and the
allure of the sensuous. Investigations of historical styles and genres,
composers philosophical outlooks, and musics various functions in
society. Consideration of changing performance practices and differing
ideological responses to music. No musical background required. [3]
Michael Rose. (Not currently offered)
MUSL 200. Women and Music. An investigation of the roles women
have played in the development of Western music-performance, com-
position, patronage, education-and the social and economic factors
that have influenced their position. Recommended: MUSL 121W, 140,
or 141 or familiarity with the style periods of classical Western music.
FALL. [3] Cyrus. (Offered alternate years)
MUSL 201. Music, Gender, and Sexuality. Exploration of gender and
sexuality in Western art and vernacular musical traditions. Topics in-
clude gendered musical forms, genres, and performance; feminist mu-
sic criticism; ideologies of musical authorship and genius; musical can-
ons; and musical representations of gender and sexuality. Prerequisite:
MUSL 121W, 140 or 141 and ability to read a score. SPRING. [3] Lowe.
MUSL 219. The Bible and Music. An investigation of Biblical texts (Old
Testament/Tanach; Deuterocanonical texts/Old Testament Apocrypha;
New Testament) that have inspired musical settings and the musical
settings themselves. Emphasis on literary and musical analysis and
interpretation. No musical or scriptural background assumed. [3] (Not
currently offered)
MUSL 221A. Opera in the 17th and 18th Centuries. In-depth study of
five or six representative works. Score and libretto analysis, reception
history, cult of the performer, role of the contemporary producer/director.
B.Mus. students and second majors, MUSL 121W, 122, and 239; music
minors, MUSL 121W or 140; or permission of instructor. Not open to
students who completed MUSL 221 prior to Fall 2011. FALL. [3] Calico.
MUSL 221B. Opera in the 19th Century. In-depth study of five or six
representative works. Score and libretto analysis, reception history, cult
of the performer, role of the contemporary producer/director. Prerequi-
site: B.Mus. students and second majors, MUSL 121W, 122, and 239;
music minors, MUSL 121W or 140; or permission of instructor. Serves
as repeat credit for MUSL 221. FALL. [3] Calico.
MUSL 222. Mahler Symphonies: Songs of Irony. An exploration of large
orchestral works of Gustav Mahler emphasizing their demonstration of
the synthesis of symphony and song and their reflection of nineteenth-
century German philosophies of irony. Prerequisite: B.Mus. students and
second majors, MUSL 121W, 122, and 239; music minors, MUSL 121W
or 140; or permission of instructor. FALL. [3] Lovensheimer.
MUSL 223. Music in the Age of Beethoven and Schubert. The musical
legacy of each composer in culture and (especially) social context: pa-
trons, family, and friends. Prerequisite: B.Mus. students and second ma-
jors, MUSL 121W, 122, and 239; music minors, MUSL 121W or 140; or
permission of instructor. FALL. [3] Cyrus, Lowe. (Offered alternate years)
MUSL 224. Haydn and Mozart. An in-depth look at the music of
Haydn and Mozart in cultural and social contexts. Prerequisite: B.Mus.
students and second majors, MUSL 121W, 122, and 239; music mi-
nors, MUSL 121W or 140; or permission of instructor. FALL. [3] Lowe.
MUSL 225. Brahms and the Anxiety of Inuence. A study of Brahms
large-scale orchestral works and other selected literature from the per-
spective of influence. Musical relationships to Couperin, J. S. Bach
and sons, Beethoven, Wagner, Schoenberg and others. Topics include
Brahms self-image; Brahms as conductor, performer, and editor; sty-
listic fingerprints; popular and folk elements; Brahms and later compos-
ers; his relationship to Clara; the Wagner-Brahms debate. Prerequisite:
B.Mus. students and second majors, MUSL 121W, 122, and 239; mu-
sic minors, MUSL 121W or 140; or permission of instructor. FALL. [3]
Cyrus. (Offered alternate years)
MUSL 226. The String Quartet. An intensive exploration of the string quar-
tet. Topics for discussion include origins and history of the genre, rhetoric,
audience, reception, interpretation, and performance practice. Prerequisite:
B.Mus. students and second majors, MUSL 121W, 122, and 239; music
minors, MUSL 121W or 140; or permission of instructor. FALL. [3] Lowe.
MUSL 227. Music in the Age of Revolution, 17891848. Explores de-
velopments in genres, styles, patronage, and careers brought on by
socioeconomic and political change from late Haydn to Wagner. Top-
ics include nationalism, Romanticism, rise of the middle class, touring
virtuoso, composer/critic. Musical analysis, historical and cultural con-
text. Prerequisite: B.Mus. students and second majors, MUSL 121W,
122, and 239; music minors, MUSL 121W or 140; or permission of in-
structor. FALL. [3] Calico.
MUSL 228. J. S. Bach: Learned Musician & Virtual Traveler. Explores
the life and works of high baroque composer J. S. Bach, who devel-
oped a highly cosmopolitan, erudite musical style. Course will include
structural and stylistic analysis and will also address biography, cultural
context, and performance practice. Prerequisite: B.Mus. students and
second majors, MUSL 121W, 122, and 239; music minors, MUSL 121W
or 140; or permission of instructor. SPRING. [3] Staff.
MUSL 229. Robert Schumann and the Romantic Sensibility. An ex-
ploration of Robert Schumanns music and criticism within the context
of German Romanticism. B.Mus. students and second majors, MUSL
121W, 122, and 239; music minors, MUSL 121W or 140; or permission
of instructor. FALL. [3] Lovensheimer.
MUSL 239. Music of the 20th and 21st Centuries. An exploration
of the wealth and diversity of European and American art music since
1900. Emphasis on the historical, cultural, philosophical, and techno-
logical contexts that encourage an approach to this music on its own
terms. Prerequisite: B.Mus. students and second majors, MUSL 121W
and 122; music minors, MUSL 121W or 140; or permission of instructor.
FALL. [3] Calico.
MUSL 242. Music of the Middle Ages and Renaissance. An in-depth
study of music of the Middle Ages and Renaissance with particular em-
phasis on social, religious, economic, and performance history. Cross-
cultural perspectives, both historic and modern. Exploration of a variety
of writing styles and approaches. Prerequisite: 140 or 141. (Not cur-
rently offered)
MUSL 243. Music of the Baroque and Classic Eras. An in-depth study
of music and its historical, cultural, political, and performance contexts
in the Baroque and Classic Eras. Development of research and writing
skills. Prerequisite: MUSL 122 or 242. [3] (Not currently offered)
MUSL 244. Music of the Romantic and Modern Eras. An in-depth study
of music from the Romantic period to the present. Emphasis on reception
history and historical, cultural, political, and performance contexts. Refine-
ment of research and writing skills. Prerequisite: 243. Non-B.Mus. students
may petition to use 140 or 141 as a prerequisite. [3] (Not currently offered)
MUSL 245. Art Music of the United States after 1900. An in-depth
exploration of twentieth- and twenty-first-century art music of the Unit-
ed States, from Charles Ives to the present. Prerequisite: MUSC 172 or
220, and MUSL 122 or 147 or 244. SPRING. [3] Lovensheimer. (Offered
alternate years)
MUSL 247. Opera. In-depth study of five or six representative works.
Score and libretto analysis, reception history, cult of the performer,
role of the contemporary producer/director. Prerequisite: 140 or 141.
SPRING. [3] Calico. (Not currently offered; replaced by MUSL 221A, B)
MUSL 250. Music in Latin America and the Caribbean. An introduc-
tion to a wide variety of musical genres and traditions in Latin America
and the Caribbean. Indigenous, folk, popular, and art music forms and
their social function, meaning, historical development, cultural blend-
ing, and cross-hybridization. SPRING. [3] Simonett.
MUSL 252. Afropop. Historical survey of the unique development of
modern African popular music from its roots within syncretic dance/
art forms. Topics include Cuban retentions, synthesis of African and
European styles, blues, soukous, kwasa kwasa, samba, highlife, palm
wine, juju, taarab, bubblegum, marabi, and the contemporary return to
earlier styles. Prerequisite: Any MUSL course. [3] (Not currently offered)
MUSL 253. Women and Rock Music. An exploration of the ways
that women have made their voices heard in rock on stage, in the stu-
dio, behind the scenes, and as fans. Prerequisite: Any MUSL or WGS
course. SPRING. [3] Gunderman.
MUSL 261. Music, Identity, and Diversity. Issues of multiculturalism
and intersections with musical expression in America. Cultural deter-
minants, such as race, gender, ethnicity, class, religion, language, ide-
ology, folklore, and history will be studied critically. Prerequisite: Any
MUSL course or AMER 100. FALL. [3] Simonett.
MUSL 262. Music of the South. The musical riches of the American
South approached from various perspectives, including the historical,
cultural, social, political, and religious. Blues, country, and gospel are
the primary genres of study; jazz, folk, and classical traditions in the
South also receive attention. Prerequisite: Any MUSL course or AMER
100. FALL. [3] Fry. (Offered alternate years)
MUSL 263. American Music and Society: The 1960s. Examines
from an interdisciplinary perspective American social issues, the politi-
cal sphere, and music in the dynamic and generation-shaping 1960s.
Books, articles, memoirs, documentaries, movies, and music critically
analyzed and interpreted. No technical musical knowledge required. [3]
(Not currently offered)
MUSL 264. Exploring the Film Soundtrack. Relationships among
soundtrack, image, and narrative in film. The complex of music, sound,
and dialog in a variety of American films, from silents to Hollywood
blockbusters and cartoons. Topics include diegesis, temporality, conti-
nuity, and musical style. Discussion, video, and film research, reading,
and listening. No musical background required. SPRING. [3] Link.
MUSL 265. Music City Museums and Memorabilia: Popular Music
and Tourism. An exploration of the intersection between popular music
and tourism. Music landmarks as tourist attractions, music memorabilia
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and museums, tourism and urban development, souvenirs as travel
credentials, and tourism and issues of representation. FALL. [3] Fry.
MUSL 288. Academic Research and Writing in Music. Intensive de-
velopment of a musicology research project already in progress (such
as a term paper, grant proposal, etc.). Focus on research methods in
musicology and effective academic writing. Instruction centers on peer
review and editing, guided research, and analysis of research, writing,
and editing processes. Students will also develop an academic curricu-
lum vita. Projects must be approved by the instructor before students
register. Prerequisite: MUSL 121A or MUSL 141 or permission of the
instructor. May be repeated once for credit. [3] (Not currently offered)
MUSL 289. Independent Study. Development and execution of a pro-
gram of study in musicology or ethnomusicology under the direction of a
member of the department. (See Academic Regulations section.) [Repeat-
able for credit, variable up to 3 hours per semester.] Musicology faculty.
MUSL 294. Selected Topics in Music History. Selected methodologi-
cal approaches focused on a particular topic. Offerings have included
Music and the American Presidency, Schoenberg and the Word,
Mingus, Monk, and Miles: Jazz Biography and Jazz Composition,
Stephen Sondheim and the American Musical, and Mozart Piano
Concertos. Prerequisite: Varies by topic. May be repeated for credit
when topics vary. [3] Musicology faculty.
MUSL 298. Senior Thesis. Completion of an extended paper based
in musicological or ethnomusicological research under the supervision
of a faculty sponsor. Progress monitored via tutorials. Open only to
seniors. Prerequisite: MUSL 239 or 242-244. [Variable credit, 13 hours
each semester; may be repeated once] Musicology faculty.
MUSL 299A. Senior Honors Thesis. Independent research on a mu-
sicological or ethnomusicological topic, culminating in a written thesis
submitted to the faculty. Progress monitored via tutorials. Students com-
pleting this course with distinction, including a thesis and an oral de-
fense, will earn honors or highest honors in music literature and history.
Open only to students in the department honors program. Prerequisite:
Departmental approval of formal prospectus. [3] Musicology faculty.
MUSL 299B. Senior Honors Thesis. Independent research on a mu-
sicological or ethnomusicological topic, culminating in a written thesis
submitted to the faculty. Progress monitored via tutorials. Students com-
pleting this course with distinction, including a thesis and an oral de-
fense, will earn honors or highest honors in music literature and history.
Open only to students in the department honors program. Prerequisite:
Departmental approval of formal prospectus. [3] Musicology faculty.
Other Music Courses
MUSO 099. First Year Music Seminar. Open to first-year students
of all four undergraduate schools. Topics approved by Blair faculty.
Students may propose topics through the associate dean. No credit
toward a major or minor in music. FALL, SPRING. [1] Staff.
MUSO 102. Computer Recording Technology Seminar. The digital
recording revolution. Recording, editing, and mixing music, using both
audio and MIDI sequencing data inside the computer. Remixing tech-
niques with universal plug-in software. Sampling, synthesis, and dis-
section of studio projects. FALL, SPRING. [2] Wilder.
MUSO 104A. Lyric Theatre Workshop I. Introduction to the various per-
formance elements of the lyric theatre experience: acting, movement,
improvisation, use of the voice, stage combat, and scene study. Open to
all Vanderbilt students by consent of instructor. SPRING. [1] Shay.
MUSO 104B. Lyric Theatre Workshop II. Various performance ele-
ments of the lyric theatre experience: acting, movement, improvisation,
use of the voice, stage combat, and scene study. Pre-requisite: MUSO
104A. SPRING. [1] Shay.
MUSO 104C. Lyric Theatre Workshop for Instrumentalists. Beginning
acting and movement techniques for the lyric stage as they pertain to in-
strumental musicians. Memorized texts, acting improvisation, and stage
movement are explored to gain better connection to the music, fellow
collaborators, and the audience. Application to individual instrumental
repertoire required. Open by consent of instructor. SPRING. [1] Shay.
MUSO 114. Fingerboard Harmony. Advanced guitar skills: modal po-
sitions, modal patterns, score reading, arpeggios, transposition, and
chord progressions. Prerequisite: MUSP 104B or permission of instruc-
tor. FALL, SPRING. [1] Phillips
MUSO 116. Viola for Violinists. Technical principles, practices, and
strategies for violinists learning viola. Investigation of solo and cham-
ber music repertoire; historical evolution of the viola. Viola provided.
Prerequisite: Approval of violin instructor and course instructor. FALL,
SPRING. [1] Plummer.
MUSO 117. Baroque Performance for Strings. Aspects of period in-
strument performance adaptable to modern instruments and modern
bows. Articulation, ornamentation, the rule of the down-bow, the influ-
ence of dance, and other technical and stylistic issues. Baroque bow
provided. Culminates in a lecture-performance. May be repeated for
credit. [1] (Not currently offered)
MUSO 131. Elements of Jazz Improvisation. Introduction to the tech-
niques of jazz improvisation. Development of basic performing tech-
niques in various styles. Prerequisite: MUSC 131A. May be repeated
for credit. FALL, SPRING, SUMMER. [1] Billy Adair, Johnson, Spencer.
MUSO 133. Jazz Private Instruction. Private instruction on standard
jazz instruments and voice. Repertory and techniques chosen to meet
individual needs. Open by audition. Private lesson fees apply to non-B.
Mus. students. May be repeated for credit. Prerequisite: 131 or 132.
FALL, SPRING. [Variable credit: 12 each semester. Multiple section
enrollment possible. Students may accrue up to 6 credits per semester
of enrollment]. Dudley, Johnson, Kimbrough, Phillips, Solee.
MUSO 151. Woodwind Seminar. Fundamentals of woodwind playing
with emphasis on tone, intonation, practice and rehearsal techniques,
musicianship, and the psychology of performance. Includes in-class
performance and critique. Required of all woodwind performance ma-
jors. [1] (Not currently offered)
MUSO 152. Brass Seminar. Fundamentals of brass playing; an over-
view of basic techniques. An in-depth study of non-traditional notation,
performance practice, and ensemble rehearsal techniques. Required of
all brass performance majors. Open only to music majors. SPRING. [2]
Wilson. (Offered alternate years)
MUSO 153. Percussion Seminar. Overview of percussion in Western
and non-Western cultures from pre-history to present. Emphasis on
European/American orchestral practices. Representative works for
study chosen from symphony, opera, oratorio, and other orchestral/
choral sources. FALL. [1] Wiggins.
MUSO 159. Diction for Singers: English and Italian. An introduction
to the International Phonetic Alphabet as applied to lyric English and
Italian diction. FALL. [1] Montgomery.
MUSO 159C. Diction for Singers: German. High German diction, us-
ing the International Phonetic Alphabet. Prerequisite: 159 or permission
of the instructor. SPRING. [1] Montgomery.
MUSO 159D. Diction for Singers: French. French stage diction, using
the International Phonetic Alphabet. Prerequisite: 159 or permission of
the instructor. FALL. [1] Montgomery.
MUSO 161. Music and Cognition. Theories and research about the
cognition of music, appreciation, and performance. Selected musi-
cal topics include timbre, consonance, dissonance, tuning, melody,
rhythm, scales, modes, chords, and composition. Concepts and re-
search from the psychological sciences emphasize sensory mecha-
nisms, perceptual discriminations, pattern recognition, categorization,
transfer of learning, and motor coordination. Prerequisite: One course
in music or psychology. [3] (Not currently offered)
MUSO 200. Music Criticism and Writing. A practical guide to writ-
ing professional music criticism. Readings include selected writings of
the great critics, literary authors, program annotators, and bloggers.
Assignments involve listening exercises, written reviews and program
notes. Difference in style among classical, jazz, and rock critics will
be considered. Prerequisite: MUSL 121W and 122, or permission of
instructor. FALL. [2] Pitcher.
Musicians Wellness
MUSO 162. The Alexander Technique. An accurate kinesthetic sense
of the structure and movement of the body through hands-on and ver-
bal instruction in body mapping and the principles developed by F. M.
Alexander. Emphasis on ordinary daily activities. Offered on a pass/fail
basis only. FALL, SPRING. [1] Ahner.
MUSO 163. The Performer and the Body. Application of the Alex-
ander technique in a small group setting with attention to individuals
and their particular performance modes, i.e., public speaking, sing-
ing, dancing, acting, playing an instrument. Offered on a pass/fail ba-
sis. May be repeated once for credit. Prerequisite: MUSO 162. FALL,
SPRING. [1] Ahner
MUSO 164. Meditation for Musicians. A practice-centered approach
helps students develop a regular meditation routine. Each weekly ses-
sion involves meditation, in-class reading, listening, and performance.
Prerequisite: Open to music majors and minors. Offered on a pass/fail
basis. FALL, SPRING. [1] Joshua McGuire.
MUSO 165. Tai Chi for Musicians. Principles of Tai Chi applied to
musical performance. The practice and understanding of anatomical
movement, with emphasis on prevention of injury. Offered on a pass/
fail basis. FALL, SPRING. [1] Phillips.
Arts Advocacy, Career Development, and Entrepreneurship
MUSO 100. The Business of Music. A general survey of music in the
world of commerce. Systems of the contemporary music business,
with special emphasis on the recording industry. Music business pro-
fessionals as guest lecturers. FALL, SPRING. [3] Porter.
MUSO 106. Building Communities Through Music and the Arts. The
philosophical and strategic background for and practical skills in audi-
ence-focused and audience-engaged arts programming. Techniques
to make music both accessible and relevant to learners; develop-
ment of interactive programs and curriculum-directed programs; form,
structure, and pacing of programs, including repertoire selection and
duration, presentation of music, and participatory experiences. FALL,
SPRING [1] Korn.
MUSO 107. Creating Mission-Driven Arts and Social Programming.
Strategies for planning, financing, supporting, and sustaining an artistic
and social development mission. Specific tools for creating mission-
driven music, arts and community service organizational structures.
SPRING. [2] Korn.
MUSO 201. Career Preparedness: The Business of a Music Profes-
sional. Prepares students for a career in music and its related fields.
Emphasis on essential skills for resum writing, financial management,
interviewing/auditioning, media relations, copyright/ownership, career
adaptability, and developing an artistic vision. Prerequisite: Senior
bachelor of music students only. FALL [1], Korn.
MUSO 233. 21st Century Artistry: Advanced Skills in Live Perfor-
mance, Technology and Communication. Skills for artistry, employ-
ment, audience engagement, communications, and the business of
live music performance and recording. Emphasis on live and recorded
stage and communication presentation; utilization of laptops as re-
cording and live technologies; and creative application of technology,
creativity, advocacy and business skills for employment. Prerequisite:
MUSC 173 or permission of instructor. FALL. [3] Korn.
Music Courses Abroad
MUSO 230. Collaborative Composition in London. Exchange pro-
gram with the Royal Academy of Music, London. Collaborative work-
shop between student composers and performers at both schools, with
faculty mentorship. Travel to London over spring break (vouchers avail-
able), hosting of RAM students at Blair the following week. Enrollment
by audition. SPRING. [1] Michael Rose and Peter Sheppard Skaerved
(RAM). (Offered alternate years)
MUSO 231. Performance in Practice, IES Vienna. Open by audition
to students in the IES Vienna program. The workshop is designed to of-
fer vocalists and instrumentalists the opportunity to expand repertoire
and enhance performance skills. Rehearsal and discussion of aspects
of selected works in relation to the challenge of performance. May be
repeated once for credit. [2] Staff.
MUSO 232. Vanderbilt Music Acadmie. Holistic approach to inten-
sive performance study through cultural immersion in residence with
Vanderbilt in France in Aix-en-Provence. Large ensemble, chamber
music, master classes, private instruction with performances and pub-
lic coachings each week. Artistic introspection and cultural exploration
through French classes, excursions, and activities. SUMMER. [2] Verrier.
Orchestral Repertoire
MUSO 251. Woodwind Orchestral Repertoire. Exploration of the
standard orchestral repertoire with emphasis on performance prac-
tice. Performance of selected excerpts, coached and conducted. Not
recommended for freshmen. May be repeated for credit. SPRING. [1]
Woodwind faculty.
MUSO 252. Brass Orchestral Repertoire. Exploration of the standard
orchestral repertoire with emphasis on the late Romantic period. Per-
formance of selected excerpts, coached and conducted. May be re-
peated for credit. FALL. [1] Wilson.
MUSO 253A. Orchestral Repertoire for Percussion. Exploration of
the standard orchestral repertoire for percussion instruments, exclusive
of timpani, with emphasis on score analysis, instrument selection, and
performance techniques. Selected excerpts coached and conducted.
SPRING. [1] Wiggins. (Offered alternate years)
MUSO 253B. Orchestral Repertoire for Timpani. Exploration of the
standard orchestral repertoire for timpani. Emphasis on score analysis,
editing, stick selection, and performance practice. Selected excerpts
coached and conducted. FALL. [1] Wiggins. (Offered alternate years)
MUSO 254A. String and Harp Orchestral Repertoire. Analysis and
coaching of the standard orchestral repertoire, including opera and
ballet, with emphasis on style and technical problems. Selected ex-
cerpts in like instrument groups (violin, viola, cello, bass, harp). May
be repeated for credit. [1] Iwasaki, Mansell, Plummer, Reinker, Reist,
Wanner, Shaffer.
Instrument Literature
MUSO 256A. Piano Literature I. A survey of works for piano from the
seventeenth through the nineteenth centuries, within the context of his-
torical perspective, stylistic awareness, and pianism. Designed primar-
ily for piano majors. SPRING. [2] Nies, Wait. (Offered alternate years)
MUSO 256B. Piano Literature II. A survey of works for piano from
the nineteenth through the twenty-first centuries, within the context of
historical perspective, stylistic awareness, and pianism. Designed pri-
marily for piano majors. FALL. [2] Nies, Wait. (Offered alternate years)
MUSO 257. Organ Literature. Survey of organ literature from 1500 to
the present. Reading and listening, with special attention to organ reg-
istration pertaining to nationality and time period. [2] Carl Smith. (Not
currently offered)
MUSO 258. Guitar Literature. Survey of literature for the classical gui-
tar from the sixteenth century to the twentieth century. Various systems
of notation including lute and vihuela are explored. FALL. [2] Johns.
MUSO 259. Vocal Literature. Survey of literature for solo voice from
the seventeenth century to the present, with focus on traditional art
songs of the great masters of the genre. Prerequisite: MUSC 173,
MUSL 121W. Corequisite: MUSP 289 or MUSR 289. FALL. [2] Jarman,
Retzlaff. (Offered alternate years)
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Conducting
MUSO 261. Conducting. An introductory course of study stressing the
fundamentals of movement and gesture as they relate to style, articu-
lation, phrasing, tempo, cueing, etc. Score reading at the piano. Pre-
requisite: MUSC 171E, MUSC 132B or 133B, and MUSC 173. FALL,
SPRING. [2] Fountain, P. Schneller, Verrier.
MUSO 262. Instrumental Conducting. Expansion of basic skills to in-
clude longer and more complex musical structures; expanded ability
in analysis, memorization, and interpretation; significant independent
preparation. Prerequisite: 261 and consent of instructor. [2] SPRING.
Fountain.
MUSO 263. Choral Conducting. Choral conducting and rehearsal
techniques, score reading and analysis, methods, and materials of
choral music. Prerequisite: 261 and consent of instructor. SPRING. [2]
Biddlecombe. (Offered alternate years)
Pedagogy
MUSO 265A. Suzuki Violin Pedagogy. Principles and procedures of
teaching violin using the Suzuki Violin School, books 1-4. Individual and
group instruction techniques observed and discussed. Designed for ju-
nior or senior violin/viola students. Violin for class use required. Open
by consent of instructor. FALL. [3] Carol Smith. (Offered alternate years)
MUSO 265B. Suzuki Violin Pedagogy. Principles and procedures of
teaching violin using the Suzuki Violin School, books 14. Individual
and group instruction techniques observed and discussed. Designed
for junior or senior violin/viola students. Violin for class use required.
Open by consent of instructor. Prerequisite: MUSO 265A. SPRING. [3]
Carol Smith. (Offered alternate years)
MUSO 266. Piano Pedagogy. Principles and procedures of teaching
piano. Individual and group instruction techniques observed and dis-
cussed. Practicum with private students. Designed for piano majors;
others admitted with consent of instructor. FALL. [2] Krieger. (Offered
alternate years)
MUSO 267. Organ Pedagogy. Review of organ methods and resource
materials for piano and/or organ that describe the development of tech-
nique. Practicum with a private student. [2] Carl Smith. (Not currently
offered)
MUSO 268. Guitar Pedagogy. Principles and procedures of teaching
classical guitar. Instructional methods and their applications with dif-
ferent age levels. Attention given to individual and group instruction.
SPRING. [2] Johns. (Offered alternate years)
MUSO 269. Vocal Pedagogy. Principles and procedures of teaching
voice. Psychological and physiological approaches. Practicum with pri-
vate students. Prerequisite: Two years of voice study. FALL. [2] Retzlaff,
Shay. (Offered alternate years)
MUSO 271. Pedagogy Practicum. Principles and procedures of pri-
vate teaching. Reading and research under the direction of a faculty
sponsor, consistent with requirements for Independent Study. Practi-
cum with private students. Consent of the faculty sponsor is required.
[Repeatable for credit, variable 12 hours each semester] Staff.
Independent Study and Internships
MUSO 280A. Music Internship (1 credit hour). Academic research
and writing related to a corequisite internship experience under the di-
rection of a faculty sponsor. Prerequisite: 2.9 GPA, sophomore stand-
ing, and approval of project prospectus by faculty sponsor and by
associate dean. May be repeated for credit, up to 1 credit hour per
semester of enrollment. FALL, SPRING. [1].
MUSO 280B. Music Internship (3 credit hours). An extensive aca-
demic program of study related to a corequisite internship experience
under the direction of a faculty sponsor. Prerequisite: 2.9 GPA, sopho-
more standing, and approval of project prospectus by faculty sponsor
and by associate dean. May be repeated for credit, up to 3 credit hours
per semester of enrollment. FALL, SPRING, SUMMER. [3].
MUSO 280C. Summer Music Internship. Academic research and
writing related to a corequisite internship experience under the direc-
tion of a faculty sponsor. Prerequisite: 2.9 GPA, sophomore standing,
and approval of project prospectus by faculty sponsor and by Associ-
ate dean. Offered on a pass/fail basis only. May be repeated for credit,
up to 1 credit hour per semester of enrollment. SUMMER. [1].
MUSO 281. Pedagogy Internship. Focused experience in the teaching
of performance under the direction of a faculty sponsor in that perfor-
mance area (consent required). Involves a specific program of regular
consultation between student and supervising teacher. Open only to
students seeking concentration in pedagogy. Prerequisite: MUSO 256,
257, 258, 259, or 289 (in field) and 266, 267, 268, or 269 (in field). [Re-
peatable for credit, variable 13 hours each semester] Staff.
MUSO 289. Independent Study. Development of a project or a pro-
gram of reading under the direction of a faculty sponsor. Consent of
the faculty sponsor is required. (See Academic Regulations section.)
[Repeatable for credit, variable up to 3 hours per semester] Staff.
Non-Credit Requirements (all courses are repeatable)
MUSO 108. Recital Attendance. Weekly recitals in solo and cham-
ber music settings, presented by students enrolled for performance
instruction, and six additional faculty/student recitals and concerts. Re-
quired of all music degree (B.Mus.) students. (See Academic Regula-
tions section of catalog.) Offered on a pass/fail basis. [0] Melissa Rose.
MUSO 109A. Flute Performance Class. Weekly observation and par-
ticipation. Required of all flute majors, performance and musical arts.
Offered on a pass/fail basis. [0] Dikeman.
MUSO 109B. Violin Performance/Studio Class. Weekly observation
and participation. Required of all violin majors, performance and musi-
cal arts. Offered on a pass/fail basis. [0] Heard, Huebl, and Teal.
MUSO 109C. Cello Performance Class. Weekly observation and par-
ticipation. Required of all cello majors, performance and musical arts.
Offered on a pass/fail basis. [0] Wang.
MUSO 109D. Piano Performance Class. Weekly observation and par-
ticipation. Required of all piano majors, performance and musical arts.
Offered on a pass/fail basis. [0] Nies.
MUSO 109E. Guitar Performance Class. Weekly observation and
participation. Required of all guitar majors, performance and musical
arts. Offered on a pass/fail basis. [0] Johns, Phillips.
MUSO 109F. Vocal Performance Class. Weekly observation and par-
ticipation. Required of all voice majors, performance and musical arts.
Offered on a pass/fail basis. [0] Voice faculty.
MUSO 109G. Viola Performance Class. Weekly observation and par-
ticipation. Required of all viola majors, performance and musical arts.
Offered on a pass/fail basis. [0] Kochanowski, Plummer.
MUSO 109L. Bass Performance Class. Weekly observation and par-
ticipation. Required of all bass majors, performance and musical arts.
Offered on a pass/fail basis. [0] Reist, Wanner.
MUSO 110A. Trumpet Performance Class. Weekly observation and
participation. Required of all trumpet and horn majors, performance
and musical arts. Offered on a pass/fail basis. [0] Cox.
MUSO 110B. Low Brass Performance Class. Weekly observation
and participation. Required of all euphonium and tuba majors, perfor-
mance and musical arts. Offered on a pass/fail basis. [0] Long.
MUSO 110D. Oboe Performance Class. Weekly observation and par-
ticipation. Required of all oboe majors, performance and musical arts.
Offered on a pass/fail basis. [0] Jared Hauser.
MUSO 110E. Bassoon Performance Class. Weekly observation and
participation. Required of all bassoon majors, performance and musical
arts. Offered on a pass/fail basis. [0] Kolkay.
MUSO 110F. Clarinet Performance Class. Weekly observation and
participation. Required of all clarinet majors, performance and musical
arts. Offered on a pass/fail basis. [0] Jackson.
MUSO 110G. Percussion Performance Class. Weekly observation
and participation. Required of all percussion majors, performance and
musical arts. Offered on a pass/fail basis. [0] Wiggins.
MUSO 110L. Saxophone Performance Class. Weekly observation
and participation. Required of saxophone majors, performance and
musical arts. Offered on a pass/fail basis. [0] Utley.
MUSO 111A. Horn Performance Class. Weekly observation and par-
ticipation. Required of horn majors, performance and musical arts. Of-
fered on a pass/fail basis. [0] Norton.
MUSO 111B. Trombone Performance Class. Weekly observation and
participation. Required of all trombone majors, performance and musi-
cal arts. Offered on a pass/fail basis. [0] Wilson.
MUSO 111C. Composition Studio Class. Weekly observation and
participation. Required of all composition majors. Offered on a pass/fail
basis. [0] Slayton, Link, Kurek, Michael Rose.
Performance Instruction
Group Performance Instruction
MUSP 102A. Introduction to Piano I. A total-musicianship approach
to the piano. Repertoire, technique, and sight reading are studied. Also
includes the study of transposition, harmonization, and improvisation.
One 50-minute group lesson weekly. Fees apply. Not open to B.Mus.
students. FALL, SPRING. [1] Wade.
MUSP 102B. Introduction to Piano II. A total-musicianship approach
to the piano. Repertoire, technique, and sight reading are studied. Also
includes the study of transposition, harmonization, and improvisation.
One 50-minute group lesson weekly. Prerequisite: MUSP 102A or per-
mission of instructor. Fees apply. Not open to B.Mus. students. FALL,
SPRING. [1] Wade.
MUSP 104A. Introduction to Guitar I. A foundation in basic guitar tech-
nique that will prepare students for future studies in classical, jazz, or
popular styles of guitar. Emphasis on chordal accompaniment, devel-
opment of reading skills, improvisational techniques with melodies and
chords. One 50-minute group lesson weekly. Fees apply to non-B.Mus.
students. [1] Phillips.
MUSP 104B. Introduction to Guitar II. A foundation in basic guitar
technique that will prepare students for future studies in classical, jazz,
or popular styles of guitar. Emphasis on chordal accompaniment, de-
velopment of reading skills, improvisational techniques with melodies
and chords. One 50-minute group lesson weekly. Prerequisite: MUSP
104A or permission of instructor. Fees apply to non-B.Mus. students.
[1] Phillips.
MUSP 105A. Introduction to Percussion. Basic percussion techniques
with emphasis on rolls, embellishments, sticking combinations, and their
applications for concert and popular musical styles. Prerequisite: previ-
ous musical experience and an understanding of notation. One 50-min-
ute group lesson weekly. Fees apply to non-B.Mus. students. [1] Holland.
MUSP 107A. Introduction to Fiddle I. Designed for those with no ex-
perience in fiddle playing. Technical, stylistic, and historical elements
involved in fiddling, as well as basic notation and idiomatic techniques.
Fees apply to non-B.Mus. students. [1] Combs, Plohman.
MUSP 109A. Introduction to Steel Pan/Drum. Designed for those with
no experience in playing steel pan/drum. A foundation of basic tech-
niques, Caribbean song styles (Calypso, Soca, Reggae), history and
development of the steel band art form, and cultural awareness. One
60-minute group lesson weekly. Fees apply to non-B.Mus. students.
FALL, SPRING, SUMMER. [1] Britain.
Individual Performance Instruction
Courses are repeatable. Students may accrue up to four credit
hours per semester of enrollment.
MUSP 171. Flute. Individual instruction focused on the art and practice
of the instrument, with emphasis on tone quality, technique, rhythm,
interpretation, and literature. Open to new students by interview only.
Fees apply to non-B.Mus. students. [12 variable hours, based on les-
son length and repertoire as agreed on with instructor] Dikeman, Miles.
MUSP 172. Oboe. Individual instruction focused on the art and prac-
tice of the instrument, with emphasis on tone quality, technique, rhythm,
Fees apply to non-B.Mus. students. [12 variable hours, based on lesson
length and repertoire as agreed on with instructor] Hauser, Wiesmeyer.
MUSP 173. Clarinet. Individual instruction focused on the art and prac-
son length and repertoire as agreed on with instructor] Jackson, Lee.
MUSP 174. Saxophone. Individual instruction focused on the art and
practice of the instrument, with emphasis on tone quality, technique,
rhythm, interpretation, and literature. Open to new students by interview
only. Fees apply to non-B.Mus. students. [12 variable hours, based on
lesson length and repertoire as agreed on with instructor]Utley.
MUSP 175. Bassoon. Individual instruction focused on the art and
rhythm, interpretation, and literature. Open to new students by inter-
view only. Fees apply to non-B.Mus. students. [12 variable hours,
based on lesson length and repertoire as agreed on with instructor]
Kolkay, Estill.
MUSP 176. Horn. Individual instruction focused on the art and practice
son length and repertoire as agreed on with instructor] Norton.
MUSP 177. Trumpet. Individual instruction focused on the art and
Cox, Kunkee.
MUSP 178. Trombone. Individual instruction focused on the art and
rhythm, interpretation, and literature. Open to new students by interview
only. Fees apply to non-B.Mus. students. [12 variable hours, based on
lesson length and repertoire as agreed on with instructor] Wilson.
MUSP 179. Tuba. Individual instruction focused on the art and practice
interpretation, and literature. Open to new students by audition only.
son length and repertoire as agreed on with instructor] Long.
MUSP 180. Percussion. Individual instruction focused on the art and
Holland, Phillips, Steinquest, Wiggins.
MUSP 180A. Drumset (elective credit). Individual instruction focused
on the art and practice of the instrument, with emphasis on tone qual-
ity, technique, rhythm, interpretation, and literature. Open for elective
credit. Fees apply to non-B.Mus. students. [12 variable hours, based
on lesson length and repertoire as agreed on with instructor] Phillips.
MUSP 181. Harp. Individual instruction focused on the art and practice
281
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son length and repertoire as agreed on with instructor] Shaffer.
MUSP 182. Violin. Individual instruction focused on the art and prac-
Fees apply to non-B.Mus. students. [12 variable hours, based on lesson
length and repertoire as agreed on with instructor] Blackwell, S. Chang,
W. Chang, Clarke, Heard, Huebl, Teal, Vanosdale.
MUSP 183. Viola. Individual instruction focused on the art and practice
son length and repertoire as agreed on with instructor] Kochanowski,
Plummer, Reinker.
MUSP 184. Cello. Individual instruction focused on the art and practice
son length and repertoire as agreed on with instructor] Cassel, Mansell,
Wang.
MUSP 185. Double Bass. Individual instruction focused on the art and
Meyer, Reist, Wanner.
MUSP 186. Piano. Individual instruction focused on the art and prac-
son length and repertoire as agreed on with instructor] Coplan, Dorfman,
Koutsoukos, Krieger, Middleton, Nies, Reagan, R. Schneller, Wade,
Walker.
MUSP 187. Organ. Individual instruction focused on the art and prac-
Fees apply to non-B.Mus. students.[12 variable hours, based on les-
son length and repertoire as agreed on with instructor] Carl Smith.
MUSP 188. Guitar. Individual instruction focused on the art and prac-
son length and repertoire as agreed on with instructor] Johns, Phillips.
MUSP 189. Voice. Individual instruction focused on the art and practice
son length and repertoire as agreed on with instructor] Jarman, Mont-
gomery, Prentice, Retzlaff, Shay.
MUSP 190. Euphonium. Individual instruction focused on the art and
view. Fees apply to non-B.Mus. students. [12 variable hours, based on
lesson length and repertoire as agreed on with instructor] Long.
MUSP 192. Fiddle. Individual instruction focused on the art and
rhythm, interpretation, and literature. Open for elective credit. Fees
apply to non-B.Mus. students. [12 variable hours, based on lesson
length and repertoire as agreed on with instructor] Combs, Plohman.
MUSP 193. Harpsichord. Individual instruction focused on the art and
rhythm, interpretation, and literature. Open for elective credit and for
General Music Minors. Fees apply to non-B.Mus. students. [12 vari-
able hours, based on lesson length and repertoire as agreed on with
instructor] Brecht, Carl Smith.
MUSP 194. Dulcimer. Individual instruction focused on the art and
length and repertoire as agreed on with instructor] Rowe.
MUSP 195. Mandolin. Individual instruction focused on the art and
length and repertoire as agreed on with instructor] Pearcy
MUSP 197. Banjo. Individual instruction focused on the art and
length and repertoire as agreed on with instructor] Brown.
MUSP 198. Steel Drum. Individual instruction focused on the art and
length and repertoire as agreed on with instructor] Britain.
MUSP 271. Flute (Musical Arts Juniors/Seniors). Individual instruc-
tion focused on the art and practice of the instrument, with emphasis
on tone quality, technique, rhythm, interpretation, and literature. Open
only to musical arts juniors and seniors. [2] Dikeman.
MUSP 272. Oboe (Musical Arts Juniors/Seniors). Individual instruc-
only to musical arts juniors and seniors. [2] Hauser.
MUSP 273. Clarinet (Musical Arts Juniors/Seniors). Individual in-
struction focused on the art and practice of the instrument, with em-
phasis on tone quality, technique, rhythm, interpretation, and literature.
Open only to musical arts juniors and seniors. [2] Jackson.
MUSP 274. Saxophone (Musical Arts Juniors/Seniors). Individual
instruction focused on the art and practice of the instrument, with em-
Open only to musical arts juniors and seniors. [2] Utley.
MUSP 275. Bassoon (Musical Arts Juniors/Seniors). Individual in-
Open only to musical arts juniors and seniors. [2] Kolkay.
MUSP 276. Horn (Musical Arts Juniors/Seniors). Individual instruc-
only to musical arts juniors and seniors. [2] Norton.
MUSP 277. Trumpet (Musical Arts Juniors/Seniors). Individual in-
Open only to musical arts juniors and seniors. [2] Cox.
MUSP 278. Trombone (Musical Arts Juniors/Seniors). Individual in-
Open only to musical arts juniors and seniors. [2] Wilson.
MUSP 279. Tuba (Musical Arts Juniors/Seniors). Individual instruc-
only to musical arts juniors and seniors. [2] Long.
MUSP 280. Percussion (Musical Arts Juniors/Seniors). Individual in-
Specialized study in drumset, jazz vibraphone or contemporary marimba
is available. Open only to musical arts juniors and seniors, and for elec-
tive credit to percussion performance juniors and seniors. [2] Wiggins.
MUSP 281. Harp (Musical Arts Juniors/Seniors). Individual instruc-
only to musical arts juniors and seniors. [2] Shaffer.
MUSP 282. Violin (Musical Arts Juniors/Seniors). Individual instruc-
only to musical arts juniors and seniors. [2] Heard, Huebl, Teal.
MUSP 283. Viola (Musical Arts Juniors/Seniors). Individual instruc-
only to musical arts juniors and seniors. [2] Kochanowski, Plummer.
MUSP 284. Cello (Musical Arts Juniors/Seniors). Individual instruc-
only to musical arts juniors and seniors. [2] Wang.
MUSP 285. Double Bass (Musical Arts Juniors/Seniors). Individual
Open only to musical arts juniors and seniors. [2] Meyer, Reist, Wanner.
MUSP 286. Piano (Musical Arts Juniors/Seniors). Individual instruc-
only to musical arts juniors and seniors. [2] Dorfman, Krieger, Nies.
MUSP 287. Organ (Musical Arts Juniors/Seniors). Individual instruc-
only to musical arts juniors and seniors. [2] Carl Smith.
MUSP 288. Guitar (Musical Arts Juniors/Seniors). Individual instruc-
only to musical arts juniors and seniors. [2] Johns.
MUSP 289. Voice (Musical Arts Juniors/Seniors). Individual instruc-
only to musical arts juniors and seniors. [2] Jarman, Retzlaff, Shay.
MUSP 290. Euphonium (Musical Arts Juniors/Seniors). Individual
Open only to musical arts juniors and seniors. [2] Long.
MUSR 171. Flute (Performance Majors Freshmen/Sophomores). In-
dividual instruction focused on the art and practice of the instrument,
with emphasis on tone quality, technique, rhythm, interpretation, and
literature. Open only to freshman and sophomore performance majors.
[4] Dikeman.
MUSR 172. Oboe (Performance Majors Freshmen/Sophomores).
Individual instruction focused on the art and practice of the instrument,
[4] Hauser.
MUSR 173. Clarinet (Performance Majors Freshmen/Sophomores).
[4] Jackson.
MUSR 174. Saxophone (Performance Majors Freshmen/Sopho-
mores). Individual instruction focused on the art and practice of the
instrument, with emphasis on tone quality, technique, rhythm, interpre-
tation, and literature. Open only to freshman and sophomore perfor-
mance majors. [4] Utley.
MUSR 175. Bassoon (Performance Majors Freshmen/Sopho-
mance majors. [4] Kolkay.
MUSR 176. Horn (Performance Majors Freshmen/Sophomores). In-
[4] Norton
MUSR 177. Trumpet (Performance Majors Freshmen/Sophomores).
[4] Cox.
MUSR 178. Trombone (Performance Majors Freshmen/Sopho-
mance majors. [4] Wilson.
MUSR 179. Tuba (Performance Majors Freshmen/Sophomores). In-
[4] Long.
MUSR 180. Percussion (Performance Majors Freshmen/Sopho-
mance majors. [4] Wiggins.
MUSR 181. Harp (Performance Majors Freshmen/Sophomores). In-
[4] Shaffer.
MUSR 182. Violin (Performance Majors Freshmen/Sophomores).
[4] Heard, Huebl, Teal.
MUSR 183. Viola (Performance Majors Freshmen/Sophomores). In-
[4] Kochanowski, Plummer.
MUSR 184. Cello (Performance Majors Freshmen/Sophomores).
[4] Wang.
MUSR 185. Double Bass (Performance Majors Freshmen/Sopho-
mance majors. [4] Meyer, Reist, Wanner.
MUSR 186. Piano (Performance Majors Freshmen/Sophomores).
[4] Dorfman, Krieger, Nies.
MUSR 187. Organ (Performance Majors Freshmen/Sophomores).
[4] Carl Smith.
MUSR 188. Guitar (Performance Majors Freshmen/Sophomores).
[4] Johns.
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MUSR 189. Voice (Performance Majors Freshmen/Sophomores).
[3] Jarman, Retzlaff, Shay.
MUSR 190. Euphonium (Performance Majors Freshmen/Sopho-
mance majors. [4] Long.
MUSR 271. Flute (Performance Majors Juniors/Seniors). Individual
Open only to junior and senior performance majors. Prerequisite: Suc-
cessful completion of upper divisional hearing. [4] Dikeman.
MUSR 272. Oboe (Performance Majors Juniors/Seniors). Individual
cessful completion of upper divisional hearing. [4] Hauser.
MUSR 273. Clarinet (Performance Majors Juniors/Seniors). Indi-
vidual instruction focused on the art and practice of the instrument,
literature. Open only to junior and senior performance majors. Prereq-
uisite: Successful completion of upper divisional hearing. [4] Jackson.
MUSR 274. Saxophone (Performance Majors Juniors/Seniors). In-
literature. Open only to junior and senior performance majors. Prerequi-
site: Successful completion of upper divisional hearing. [4] Utley.
MUSR 275. Bassoon (Performance Majors Juniors/Seniors). Indi-
vidual instruction focused on the art and practice of the instrument,
uisite: Successful completion of upper divisional hearing. [4] Kolkay.
MUSR 276. Horn (Performance Majors Juniors/Seniors). Individual
cessful completion of upper divisional hearing. [4] Norton
MUSR 277. Trumpet (Performance Majors Juniors/Seniors). Individ-
ual instruction focused on the art and practice of the instrument, with
emphasis on tone quality, technique, rhythm, interpretation, and litera-
ture. Open only to junior and senior performance majors. Prerequisite:
Successful completion of upper divisional hearing. [4] Cox.
MUSR 278. Trombone (Performance Majors Juniors/Seniors). In-
uisite: Successful completion of upper divisional hearing. [4] Wilson.
MUSR 279. Tuba (Performance Majors Juniors/Seniors). Individual
cessful completion of upper divisional hearing. [4] Long.
MUSR 280. Percussion (Performance Majors Juniors/Seniors). Indi-
vidual instruction focused on the art and practice of the instrument, with
emphasis on tone quality, technique, rhythm, interpretation, and literature.
Specialized study in drumset, jazz vibraphone or contemporary marimba is
available. Open only to junior and senior performance majors. Prerequisite:
Successful completion of upper divisional hearing. [4] Wiggins.
MUSR 281. Harp (Performance Majors Juniors/Seniors). Individual
cessful completion of upper divisional hearing. [4] Shaffer.
MUSR 282. Violin (Performance Majors Juniors/Seniors). Individual
cessful completion of upper divisional hearing. [4] Heard, Huebl, Teal.
MUSR 283. Viola (Performance Majors Juniors/Seniors). Individual in-
struction focused on the art and practice of the instrument, with empha-
sis on tone quality, technique, rhythm, interpretation, and literature. Open
only to junior and senior performance majors. Prerequisite: Successful
completion of upper divisional hearing. [4] Kochanowski, Plummer.
MUSR 284. Cello (Performance Majors Juniors/Seniors). Individual
cessful completion of upper divisional hearing. [4] Wang.
MUSR 285. Double Bass (Performance Majors Juniors/Seniors). In-
uisite: Successful completion of upper divisional hearing. [4] Meyer,
Reist, Wanner.
MUSR 286. Piano (Performance Majors Juniors/Seniors). Individual
cessful completion of upper divisional hearing. [4] Dorfman, Krieger, Nies.
MUSR 287. Organ (Performance Majors Juniors/Seniors). Individual
cessful completion of upper divisional hearing. [4] Carl Smith.
MUSR 288. Guitar (Performance Majors Juniors/Seniors). Individual
cessful completion of upper divisional hearing. [4] Johns.
MUSR 289. Voice (Performance Majors Juniors/Seniors). Individual
cessful completion of upper divisional hearing. [4] Jarman, Retzlaff, Shay.
MUSR 290. Euphonium (Performance Majors Juniors/Seniors). In-
literature. Open only to junior and senior performance majors. Prerequi-
site: Successful completion of upper divisional hearing. [4] Long.
Recitals
MUSR 295. Junior Recital. Students are encouraged to prepare a
joint recital, shared with another degree candidate. See Blair Academic
Regulations section of the Undergraduate Catalog for detailed require-
ments. Open by permission of instructor. [1]
MUSR 299. Senior Recital. See Blair Academic Regulations section of
the Undergraduate Catalog for detailed requirements. Open by permis-
sion of instructor. [1]
Teacher Education
MUST 101. Woodwinds Class. Development of performance skills and
teaching methods for flute, clarinet, oboe, bassoon, and saxophone. In-
cludes teaching techniques and problems relative to woodwind instru-
ments, care and minor repairs, and instructional materials. Open only to
B.Mus students; or permission of instructor. FALL. [1] Utley.
MUST 102. Brass Class. Development of performance skills and teach-
ing methods for trumpet, french horn, trombone, euphonium, and tuba.
Includes teaching techniques and problems relative to brass instru-
ments, care and minor repairs, and instructional materials. Open only to
B.Mus students; or permission of instructor. SPRING. [1] Gavin Smith.
MUST 103. Strings Class. Development of performance skills and
teaching methods for violin, viola, cello, and double bass. Includes
teaching techniques and problems relative to string instruments, care
and minor repairs, and instructional materials. Open only to B.Mus stu-
dents; or permission of instructor. FALL. [1] Bingham.
MUST 104. Percussion Class. Development of performance skills and
teaching methods for snare drum, timpani, mallet instruments, and
other percussion instruments. Includes teaching techniques and prob-
lems relative to all percussion instruments, care and minor repairs, and
instructional materials. Open only to B.Mus students; or permission of
instructor. FALL. [1] Holland.
MUST 105. Introduction to Classroom Instruments. Development of
performance skills and teaching methods for instruments such as re-
corder, Orff, classroom percussion, and others. Includes methods and
materials for elementary general music, emphasizing development of
childrens ability to sing and play classroom instruments. Open only to
B.Mus students, or permission of instructor. SPRING. [1] Alley.
MUST 106. Child and Adolescent Voices. A study of the vocal devel-
opment and maturity of children from pre-K through high school with an
emphasis on healthy production, pitch-matching skills, learning styles,
warm-up exercises, the changing voice in boys and girls, and examples
of appropriate literature. Open only to B.Mus students, or permission of
instructor. SPRING. [1] P. Schneller
MUST 107. Secondary Instrument Lab. Development of performance
skills and teaching methods on a secondary instrument while in an
ensemble setting. Includes methodologies prescribed for teaching
secondary band and orchestra. Open only to B. Mus students, or per-
mission of instructor. Prerequisite: MUST 101 or 102 and MUST 103.
SPRING. [1] Perez.
MUST 211. Seminar in Teaching Choral Literature. Teaching tech-
niques and knowledge of choral repertoire as applicable to K-12 cho-
ral programs. Tonal, harmonic, and melodic analysis, score marking
and preparation, and classroom concerns. Repertoire drawn from the
National American Choral Directors Association reading lists, All-State
honor choir lists, and other applicable sources to encompass a broad
range of genres, styles, levels of difficulty, ethnicities, and musical pe-
riods. Prerequisite: MUSC 171 and approval of instructor. SPRING. [2]
P. Schneller. (Offered alternate years)
MUST 212. Seminar in Teaching Orchestra. Instructional strategies
for string and full orchestras from the middle school through high school
and youth orchestra levels. Topics to include rehearsal techniques, rep-
ertoire, materials, secondary string class instruction, and performance
practices. Prerequisite: MUST 103 and MUSO 261, or permission of
instructor. SPRING. [2] Wei-Tsun Chang. (Offered alternate years)
MUST 213. Seminar in Orff/Kodly Methods. Teaching general music
with emphasis on Orff and Kodly principles and practices. Planning,
instruction, and evaluation using techniques and materials from a vari-
ety of sources. FALL. [2] Ramsey. (Offered alternate years)
MUST 214. Seminar in Teaching Jazz Styles. Principles and practices
for teaching instrumental jazz styles. Rehearsal techniques (including
observation), repertoire, jazz education philosophies, and stylistic ele-
ments for soloists, combos, and larger ensembles. Prerequisite: MUSO
131 or permission of instructor. SPRING. [2] Billy Adair.
MUST 215. Seminar in Teaching Marching Band. Techniques and
materials for Marching Band instruction. Organization, administration,
literature, technology, auxiliary groups. Planning, writing, arranging and
teaching half-time performances. Prerequisite or corequisite: MUSO
261 or permission of instructor; corequisite: participation in marching
band. FALL. [2] Sagen.
MUST 216. Seminar in Teaching Musicianship. Principles and proce-
dures involved in teaching aural musicianship to K-12 students, in both
private and classroom environments. Lecture, discussion plus interac-
tive activities that explore musical perception and cognition. Prerequi-
site: MUSC 173E. FALL. [2] Ploger. (Offered alternate years)
MUST 217. Seminar in Teaching Band. Knowledge of repertoire and
teaching techniques as applicable to grades 4-12 band programs. Rep-
ertoire to be drawn from several states standardized lists that employ
comprehensive musicianship in teaching and meeting national stan-
dards. SPRING. [2] G. Smith.
MUST 250A. Practicum in Music Teaching. Observation, participa-
tion, and supervised music teaching in a variety of school, grade level,
and instructional music settings, designed to integrate and apply musi-
cal knowledge and teaching skills developed within the degree pro-
gram. Weekly seminar included. Includes SMART music studio tech-
nology and GarageBand technology. SPRING. [1] Gavin Smith, Perez.
MUST 250B. Practicum in Music Teaching II. Observation, participa-
tion, and supervised music teaching in a variety of school, grade level,
and instructional music settings, designed to integrate and apply musi-
cal knowledge and teaching skills developed within the degree pro-
gram. Weekly seminar included. Prerequisite: MUST 250A. SPRING. [1]
Gavin Smith, Perez.
MUST 250C. Practicum in Music Teaching III. Observation, partici-
pation, and supervised music teaching in a variety of school, grade
level, and instructional music settings, designed to integrate and ap-
ply musical knowledge and teaching skills developed within the degree
program. Weekly seminar included. Prerequisite: MUST 250B and any
two from MUST 211-216. SPRING. [1] Perez, Gavin Smith.
MUST 300. Philosophical Foundations and Contemporary Issues in
Music Teaching. A comprehensive study of historical trends and phi-
losophies relevant to music teaching. Readings and discussions of the
practical application of educational research studies to music teaching.
SUMMER. [3] Perez.
MUST 317. Advanced Studies for the Wind Band Conductor. Knowl-
edge of concert band repertoire as applicable to band programs from
intermediate to advanced levels. Score preparation, rehearsal strate-
gies, and expansion of conducting skills to include longer and more
complex musical structures. Specific emphasis on developing histori-
cal and pedagogical context for repertoire evaluation and selection.
Repertoire to encompass a broad range of genres, styles, and levels of
difficulty. FALL. [2] Verrier.
MUST 320. Methods and Materials in Instrumental Music. Tech-
niques and materials for teaching instrumental music from elementary
through senior high school. Emphasizes instrumental organization, ad-
ministration, pedagogical practices, and developing school instrumen-
tal music programs. FALL. [3] Verrier.
MUST 330. Methods and Materials in Vocal/Choral Music. Tech-
niques and materials for teaching vocal/choral music from elementary
through senior high school. Emphasizes vocal music organization, ad-
ministration, and pedagogical practices. FALL. [3] Cassel.
MUST 340. Methods and Materials in General Music, PreK through 12.
Techniques and materials for teaching general music, PreK through 12.
Classroom organization, administration, pedagogical practices, and
general musical activities such as Orff, Kodly, Dalcroze. FALL. [3] Alley.
285
B
MARK WAIT, D.M.A., Dean
MELISSA K. ROSE, D.M.A., Associate Dean, Collegiate Program
PAMELA SCHNELLER, M.C.M., Associate Dean, Precollege and
Adult Program
DWAYNE SAGEN, Ph.D., Assistant Dean
ROBERT HALLIBURTON, B.S., C.P.A., Business Officer
CAROL DUNNE, M.M., Registrar, Collegiate Program
TRISHA JOHNS, B.M., Registrar, Precollege and Adult Program
JOSEPH DEBUSK, Director of Technical Operations
VIRGINIA PAYNE, B.A., Associate Dean for Blair Development and
Alumni Relations
KRISTIN WHITTLESEY, B.A., Director of External Relations
Music Library Staff
HOLLING SMITH-BORNE, M.L.S., Director
SARA J. MANUS, M.L.S., Music Librarian for Public Services
JACOB SCHAUB, M.M., M.L.S., Music Librarian/Cataloging
Department Chairs
ALLAN COX, Brass and Percussion
CONNIE HEARD, Strings
JOHN JOHNS, Guitar and Harp
JARED HAUSER, Woodwinds
MELANIE LOWE, Music Literature/History
AMY K. JARMAN, Voice
MICHAEL SLAYTON, Composition/Theory
KAREN ANN KRIEGER and ROLAND SCHNELLER, Keyboard Co-Chairs
Faculty Coordinators
WILLIAM ADAIR, Jazz Studies
ROBIN FOUNTAIN, Ensembles
MICHAEL HIME and JAMA REAGAN, Music Minors
CHI-HEE HWANG, Group Piano
JOHN KOCHANOWSKI, String Chamber Music
JARED HAUSER, Woodwind Chamber Music
ROLAND SCHNELLER, Precollege Scholarships
CARL F. SMITH, JR., Music as a Second Major
CAROL F. SMITH, Suzuki Program
PAMELA SCHNELLER, Teacher Education Program
Committees of the School
ADMINISTRATIVE COUNCIL: Mark Wait, Chair. Norma Gandy, Robert
Halliburton, Melissa Rose, Dwayne Sagen, Pamela Schneller, Kristin
Whittlesey.
ADMISSIONS. Dwayne Sagen, Chair. Allan Cox, Amy Dorfman, Carolyn
Huebl, Bil Jackson, John Johns, Jonathan Retzlaff, Melissa Rose, Michael
Slayton, Tom Verrier.
AWARDS. Karen Ann Krieger, Chair. Melissa Rose, Pamela Schneller.
BMI COMPOSER-IN-RESIDENCE. Michael Kurek, Chair. Bil Jackson, Stan
Link, Tom Verrier.
CALENDAR/CONCERTS. Kristin Whittlesey and Pamela Schneller,
Co-Chairs. Tucker Biddlecombe, Christine Claffey, Joe DeBusk, Norma
Gandy, Melissa Rose, Gayle Shay, Carol Smith, Christian Teal, Robert
Thompson.
CAREER-RELATED PROGRAMMING. Robbie Fry, Chair. Jen
Gunderman, Jared Hauser, Karen Ann Krieger, Sara Manus, Melissa
Rose, Jeremy Wilson, Tiffany Franklin (Center for Student Professional
Development).
CHAMBER MUSIC. Jared Hauser and Gil Long, Co-Chairs. Amy
Dorfman, John Kochanowski, Peter Kolkay, Melissa Rose, Felix Wang.
COLLEGIATE ENSEMBLE DIRECTORS: Robin Fountain, Chair. Billy
Adair, Kwame Ahima, Tucker Biddlecombe, Mat Britain, Michael Holland,
Gayle Shay, Tom Verrier, David B. Williams.
CONCERTO COMPETITION. Felix Wang, Chair. Robin Fountain, Bil
Jackson, Leslie Norton, Jama Reagan, William Wiggins.
CURRICULUM. Stan Link, Chair. Phil Dikeman, Robbie Fry, Connie Heard,
Amy Jarman, Josh McGuire, Melissa Rose. Ex Officio: Carol Dunne.
DEPARTMENT CHAIRS. Mark Wait, Chair. Allan Cox, Brass and
Percussion; Jared Hauser, Woodwinds; Cornelia Heard, Strings; John
Johns, Guitar; Karen Ann Krieger, Co-Chair, Keyboard; Melanie Lowe,
Music Literature/History; Marianne Ploger, Musicianship; Amy Jarman,
Voice; Pamela Schneller, Precollege and Adult Program; Roland Schneller,
Co-Chair, Keyboard; Michael Slayton, Composition/Theory; Ex Officio:
Melissa Rose, Associate Dean.
FACULTY ADVISORY COUNCIL. Tucker Biddlecombe, Ben Harris,
Michael Holland, Brian Utley.
FACULTY REVIEW. John Johns, Chair. Peter Kolkay, Marianne Ploger,
Kathryn Plummer, Roland Schneller, Michael Slayton, Felix Wang.
FACULTY SENATE. Robin Fountain, Michael Slayton. Ex Officio: Mark
Wait.
INTERNATIONAL STUDIES. Joy Calico, Melissa Rose.
MA5 ADVISORY. Pamela Schneller, Chair. Amy Alley, Tucker
Biddlecombe, David Cassel, Frank Kirchner, Erin Charles Perez, Joe Rea
Phillips, Gavin Smith.
MUSIC LIBRARY. Jama Reagan, Chair. ChiHee Hwang, Melanie Lowe,
Jennifer McGuire, Michael Rose, Holling Smith-Borne.
PRECOLLEGE AND ADULT PROGRAM. Pamela Schneller, Chair. Mary
Biddlecombe, Tucker Biddlecombe, Kirsten Cassel-Greer, Paul Deakin,
ChiHee Hwang, Trisha Johns, Carol Nies, Crystal Plohman, Roland
Schneller, Carol Smith.
PRECOLLEGE CERTIFICATE PROGRAM COUNCIL. Kirsten Cassel-
Greer, Chair. Allan Cox, Paul Deakin, Cassie Lee, Kathryn Plummer,
Jama Reagan, Pamela Schneller, Roland Schneller, Jeremy Wilson.
PRECOLLEGE SCHOLARSHIP COMMITTEE. Roland Schneller, Chair.
Trisha Johns, Pamela Schneller, William Wiggins.
PRECOLLEGIATE ENSEMBLE DIRECTORS. Pamela Schneller, Chair.
Mary Biddlecombe, Tucker Biddlecombe, Carol Nies, Carol Smith.
STUDENT SHOWCASE. Gayle Shay, Chair. Phil Dikeman, John Johns,
John Kochanowski, Craig Nies, Jeremy Wilson.
TECHNOLOGY. Jennifer Daniel, Chair. Joe DeBusk, Carol Dunne, Norma
Gandy, Michael Hime, Gil Long, Holling Smith-Borne, Kristin Whittlesey.
TENURE REVIEW. Allan Cox, Chair. Cynthia Cyrus, Robin Fountain,
Connie Heard, Kathryn Plummer, Douglas Lee, Christian Teal.
WRITING PORTFOLIO ASSESSMENT/MARTIN WILLIAMS/MARSDEN
AWARDS. Marianne Ploger, Chair. Melanie Lowe, Jim Lovensheimer.
Blair School of Music
Blair School of Music / Administration and Faculty
Faculty
WILLIAM ADAIR, Senior Lecturer in Jazz
B.S. (Peabody 1970) [2002]
OKYEREMA G. AHIMA, Adjunct Instructor in Music
[2000]
SALLY R. AHNER, Lecturer in Music
B.A. (Salem College 1970); M.A. (Eastman 1974) [1987]
AMY A. ALLEY, Adjunct Artist Teacher of Kindermusik; Adjunct Lecturer
in Teacher Education
B.M. (Tennessee 1977); M.M. (Peabody 1978) [2001]
MARTHA BARTLES, Adjunct Senior Artist Teacher of Piano
B.M. (Mississippi 1953); M.F.A. (Ohio 1954) [1997]
GREGORY F. BARZ, Associate Professor of Musicology (Ethnomusicology)
B.A. (North Carolina School of the Arts 1982); M.A. (Chicago 1992);
Ph.D. (Brown 1997) [1998]
MARY BIDDLECOMBE, Adjunct Artist Teacher of Chorus
B.M.Ed. (SUNY, Potsdam 1999); M.M. (Florida State 2005) [2012]
TUCKER BIDDLECOMBE, Associate Professor of Choral Activities and
Choral Director
B.M. (SUNY, Potsdam 1998); M.M., Ph.D. (Florida State 2003,
2012) [2012]
EMELYNE M. BINGHAM, Senior Lecturer in the Teaching of Music
B.S. (Tennessee Technological 1983); M.M. (Indiana, Bloomington
1986) [1986]
CHARLES BLACKMON, Lecturer in Music
B.A. (Middle Tennessee State 1996) [2010]
JESSICA BLACKWELL, Adjunct Artist Teacher of Violin
B.M. (Rice 2006); M.M. (Johns Hopkins 2008) [2009]
MAT BRITAIN, Adjunct Instructor in Music
B.M.Ed. (Wichita State 1985) [2004]
ALISON BROWN, Adjunct Artist Teacher of Banjo
A.B. (Harvard 1984); M.B.A. (California, Los Angeles 1986) [2010]
STEVE BUCKINGHAM, Adjunct Instructor in Music History
B.A. (Richmond 1971) [2009]
JOY H. CALICO, Associate Professor of Musicology; Director of the Max
Kade Center for European and German Studies
B.M. (Baylor 1988); M.M. (Illinois 1992); Ph.D. (Duke 1999) [2003]
DAVID C. CASSEL, Adjunct Associate Professor of Music
B.M. (Bowling Green State 1967); M.M., D.M. (Indiana, Bloomington
1968, 1977) [1981]
SEANAD CHANG, Adjunct Artist Teacher of Violin/Viola
B.M. (Indiana, Bloomington 1988); M.M. (North Carolina School of the
Arts 1991) [2006]
WEI TSUN CHANG, Adjunct Associate Professor of Violin
B.M. (Indiana, Bloomington 1988); M.M. (North Carolina School of the
Arts 1991); D.M.A. (Michigan State 2006) [2006]
KAREN CLARKE, Adjunct Professor of Violin
B.M., M.M. (Johns Hopkins 1965, 1966) [2007]
DALE COCKRELL, Professor of Musicology, Emeritus
B.M., M.M., Ph.D. (Illinois 1971, 1973, 1978) [1996]
MATT COMBS, Adjunct Instructor in Fiddling and Violin and Director of
the Fiddling Program
B.M. (Michigan 1997) [2004]
PETER COOPER, Senior Lecturer In Music History and Literature
B.A. (Wofford 1993) [2008]
LAUREN JACKSON COPLAN, Adjunct Artist Teacher of Piano
B.M. (Boston University 1991) [2012]
ELIZABETH F. CORMIER, Senior Artist Teacher of Piano, Emerita
A.B. (Smith 1947); B.M. (New England Conservatory 1950); M.A.
(Columbia 1955) [1967]
ALLAN E. COX, Professor of Trumpet
B.M.E. (Nebraska 1968); M.M. (Wichita State 1970) [1998]
CYNTHIA J. CYRUS, Associate Provost of the University; Professor of
Musicology
B.A. (Pomona 1984); M.A., Ph.D. (North Carolina 1987, 1990) [1994]
GARNETT R. DAVIS, Adjunct Assistant Professor of Tuba
B.S. (North Alabama 1968); M.M. (Indiana, Bloomington 1974) [1992]
PAUL DEAKIN, Senior Lecturer in Music Theory
B.A., Ph.D. (Birmingham [U.K.] 1990, 2002) [2004]
PHILIP DIKEMAN, Associate Professor of Flute
B.M. (Oberlin 1985); M.M. (Yale 1987) [2011]
AMY R. DORFMAN, Associate Professor of Piano
B.M., Performers Certificate, M.M. (Indiana, Bloomington 1977, 1978,
1981) [1984]
BRUCE DUDLEY, Adjunct Instructor in Jazz Piano
B.S. (New York 1984); M.M. (Eastman 1986) [2005]
ELIZABETH ECKERT, Adjunct Artist Teacher of Piano
B.M. (Indiana, Bloomington 2003) [2004]
CYNTHIA F. ESTILL, Senior Artist Teacher of Bassoon
B.M. (Indiana, Bloomington 1971); M.M. (Peabody 1975) [1972]
EDWARD FOOTE, Adjunct Instructor in Music
B.F.A. (Louisiana Tech 1975) [1997]
ROBIN P. FOUNTAIN, Professor of Conducting; Director of the
Vanderbilt Orchestra
B.A., M.A. (Oxford [U.K.] 1981, 1982); M.F.A. (Carnegie Mellon
1986) [1994]
ROBERT WEBB FRY II, Senior Lecturer in Music History and Literature
B.M.Ed. (Henderson State 1998); M.M. (Ohio State 2004); Ph.D.
(Florida State 2010) [2007]
KIRSTEN CASSEL GREER, Adjunct Artist Teacher of Cello
B.M. (South Carolina 2002); M.M. (Eastman 2005) [2006]
CONSTANCE ELY GUERIN, Adjunct Artist Teacher of Music and Director
of the Young Singers of Blair
B.S. (Vanderbilt 1998) [2000]
JENNIFER GUNDERMAN, Senior Lecturer in Music History
B.A. (Vassar 1992); M.A. (University of Washington 1996) [2006]
ERIN HALL, Adjunct Artist Teacher of Violin
B.M. (Juilliard 1996); M.M. (Cleveland Institute of Music 1998) [2003]
BEN HARRIS, Senior Lecturer in Music
B.M. (Oklahoma Baptist 2000); M.M. (Baylor 2002) [2012]
JARED HAUSER, Assistant Professor of Oboe
B.M. (Michigan 1994); Artists Diploma (Ohio State 1997); M.M. (Rice
1999) [2008]
LAURA HAUSER, Adjunct Artist Teacher of Bassoon
B.M. (Eastman 2000); M.M. (Michigan State 2002) [2008]
CORNELIA L. HEARD, Valere Blair Potter Chair; Professor of Violin
B.M., M.M. (Juilliard 1978, 1979); B.A. (Sarah Lawrence 1980) [1982]
MICHAEL S. HIME, Senior Lecturer in Music Literature
B.A., M.M. (Peabody 1973, 1977) [1986]
MICHAEL HOLLAND, Senior Lecturer in Percussion
B.S. (Mount Senario 1980); M.A. (Eastern Illinois 1982) [2008]
ERIN HORNER, Adjunct Artist Teacher of Horn
B.Sc. (Trevecca Nazarene 2001); M.M. (Eastman 2003) [2006]
CAROLYN HUEBL, Associate Professor of Violin
M.M. (Cleveland Institute of Music 1994); D.M.A. (Michigan 1998) [2001]
CHIHEE HWANG, Senior Artist Teacher of Piano
B.M. (Hanyang [Korea] 2000); M.M. (Tennessee 2004) [2005]
JUN IWASAKI, Adjunct Professor of Violin
B.M., M.M. (Cleveland Institute of Music 2004, 2006) [2011]
BIL JACKSON, Associate Professor of Clarinet
[2011]
AMY K. JARMAN, Senior Lecturer in Voice
B.A. (Evansville 1978); Performance Diploma (Royal College of Music
[England] 1990) [1986]
JOHN F. JOHNS, Associate Professor of Guitar
B.M. (Johns Hopkins 1970); M.S. (Peabody 1979) [1980]
ELIZABETH JOHNSON, Adjunct Artist Teacher of Jazz Studies
B.S. (Illinois 1997) [2005]
SARA JOHNSON, Adjunct Artist Teacher of Suzuki Violin
B.S. (North Carolina, Greensboro 1974); M.F.A. (Iowa State 1977) [1997]
ENID KATAHN, Professor of Piano, Emerita
B.M. (Hartford 1955); M.M. (Peabody 1970) [1977]
JEROME J. KIMBROUGH, Adjunct Associate Professor of Guitar
B.M. (Miami 1982) [2006]
JANE B. KIRCHNER, Associate Professor of Flute, Emerita
B.M.E., M.M.E., Ed.S. (Peabody 1966, 1967, 1968) [1966]
JOHN KOCHANOWSKI, Associate Professor of Viola
[1987]
287
BB
PETER KOLKAY, Associate Professor of Bassoon
B.M. (Lawrence 1998); M.M. (Eastman 2000); M.M.A., D.M.A. (Yale
2002, 2005) [2012]
MITCHELL KORN, Adjunct Professor of Music and Educational Outreach
B.A. (Bard [New York] 1974); M.A. (Columbia 1984) [2009]
SHEREE KOUTSOUKOS, Adjunct Artist Teacher of Piano
B.A. (Wartburg College 1996); M.M. (Notre Dame 1998) [2002]
KAREN A. KRIEGER, Associate Professor of Piano
B.A. (Western Illinois 1976); M.M. (Illinois 1978) [1988]
PATRICK KUNKEE, Adjunct Associiate Professor of Trumpet
B.M. (California State, Northridge 1987); M.M. (Southern California
1989) [1991]
MICHAEL H. KUREK, Associate Professor of Composition
B.M. (Tennessee 1977); M.M., A.Mus.D. (Michigan 1981, 1985) [1988]
ZADA LAW, Adjunct Artist Teacher of Dulcimer
B.M. (Indiana, Bloomington 1976); M.A. (Wisconsin 1980) [2006]
CASSANDRA D. LEE, Senior Artist Teacher of Clarinet
B.S. (Tennessee 1975); M.M. (Northwestern 1979) [1981]
DOUGLAS A. LEE, Professor of Musicology, Emeritus
B.M. (DePauw 1954); M.M., Ph.D. (Michigan 1958, 1968) [1986]
STANLEY B. LINK, Associate Professor of the Philosophy and Analysis
of Music
B.M. (Oberlin 1986); M.F.A., Ph.D. (Princeton 1992, 1995) [1999]
GILBERT A. LONG, Adjunct Associate Professor of Tuba
B.M.A. (Louisville 1975) [1995]
JAMES LOVENSHEIMER, Associate Professor of Musicology
B.M. (Tennessee 1994); M.A., Ph.D. (Ohio State 1997, 2002) [2002]
MELANIE LOWE, Associate Professor of Musicology
B.A. (Smith 1990); M.F.A., Ph.D. (Princeton 1992, 1998) [1998]
BRADLEY D. MANSELL, Adjunct Artist Teacher of Cello
B.M. (Youngstown State 1982); M.M. (Cincinnati 1984) [1990]
MAUREEN MAY, Adjunct Instructor in Piano
B.M., M.M. (Belmont 1994, 2004) [2008]
JENNIFER MCGUIRE, Senior Lecturer in Collaborative Piano
B.M. (Shorter 2002); M.M., Artists Diploma (Cincinnati 2005,
2006) [2009]
JOSHUA MCGUIRE, Senior Lecturer in Aural Skills
B.M. (Vanderbilt 2003); M.M. (Cincinnati 2005) [2007]
EDGAR A. MEYER, Adjunct Associate Professor of Bass
VALERIE MIDDLETON, Adjunct Senior Artist Teacher of Piano
B.M. (Yankton 1979); M.M. (Colorado 1983) [2007]
SARAH MILES, Adjunct Artist Teacher of Flute
B.M. (Louisiana State 2001); M.M., D.M.A. (Michigan State 2003,
2010) [2012]
CHERI MONTGOMERY, Lecturer in Voice
B.M., M.M. (Tennessee 1987, 1990) [2002]
CRAIG E. NELSON, Adjunct Assistant Professor of Bass
B.M. (Michigan ) [2000]
CAROL R. NIES, Adjunct Senior Artist Teacher of Conducting
B.M. (Miami 1979); M.M. (Yale 1981) [1996]
CRAIG NIES, Associate Professor of Piano
B.M. (Curtis Institute of Music 1974); M.M., M.M.A. (Yale 1979, 1980);
D.Mus.A. (Stony Brook 1991) [1991]
LESLIE B. NORTON, Associate Professor of French Horn
B.M., Performers Certificate (Eastman 1984, 1984) [1989]
ROBERT W. PEARCY, Adjunct Associate Professor of Mandolin
[2009]
DERREK C. PHILLIPS, Adjunct Assistant Professor of Percussion
B.A. (William Paterson 1998) [2010]
JOE REA PHILLIPS, JR., Senior Artist Teacher of Guitar
M.S., B.S. (Peabody 1977, 1977) [1985]
MARIANNE PLOGER, Associate Professor of Music Perception and
Cognition
B.M. (Missouri, Saint Louis 1976); M.M. (Michigan 1980) [2007]
CRYSTAL D. PLOHMAN, Senior Artist Teacher of Fiddling
[1994]
KATHRYN C. PLUMMER, Professor of Viola
MICHAEL PORTER, Adjunct Associate Professor of Music Business
B.A. (Trevecca Nazarene 2001) [2012]
TRACY S. PRENTICE, Adjunct Assistant Professor of Voice
B.M. (Alabama, Huntsville 1978); M.M. (Yale 1981) [1983]
SUSAN RAMSAY, Adjunct Artist Teacher of Orff/Kodly Methods
B.M.Ed. (Peabody 1975); M.M.A. (Middle Tennessee State 1982) [2009]
JAMA A. REAGAN, Senior Artist Teacher of Piano
B.M. (North Carolina School of the Arts 1987); Associate Diploma
(Royal College of Music [England] 1992); Licentiate Diploma (Guildhall
School of Music [U.K.] 1995) [1997]
DANIEL REINKER, Adjunct Associate Professor of Viola
B.M. (Cincinnati 1979); M.M. (Yale 1981) [2002]
JOEL REIST, Adjunct Assoicate Professor of Bass
B.F.A. (Carnegie Mellon 1993); M.M. (Rice 1996) [2004]
JONATHAN A. RETZLAFF, Associate Professor of Voice
B.M. (Millikan 1979); M.M. (Wichita State 1981); D.M.A. (Arizona State
1990) [1997]
MELISSA K. ROSE, Associate Dean, Collegiate Program; Associate
Professor of Piano
B.M. (West Chester 1983); M.M. (Yale 1985); D.M.A. (Michigan
1988) [1996]
MICHAEL A. ROSE, Associate Professor of Composition
B.A., M.A. (Pennsylvania 1981, 1982); Ph.D. (Eastman 1985) [1986]
LEE ROWE, Adjunct Artist Teacher of Dulcimer
B.F.A. (Virginia Commonwealth 1987) [2006]
DWAYNE SAGEN, Adjunct Professor of Music; Assistant Dean for
Admissions
B.M., M.M. (Northwestern 1968, 1969); Ph.D. (Iowa State
1978) [1994]
JOHN F. SAWYER, Dean of the Blair School of Music, Emeritus;
Professor of Music Performance, Emeritus
B.M. (Mississippi 1953); M.M. (Peabody 1954) [1964]
PAMELA R. SCHNELLER, Associate Dean, Precollege and Adult
Program; Senior Lecturer in Choral Music
B.S.M.E. (Illinois 1972); M.C.M. (Scarritt 1987) [1988]
ROLAND A. SCHNELLER, Chancellors Chair for the Blair School; Senior
Artist Teacher of Piano
B.M. (Mount Union 1961); M.M. (Indiana, Bloomington 1963) [1964]
MARIAN SHAFFER, Adjunct Professor of Harp
B.A. (Stephens 1972); M.A. (Memphis State 1974) [1996]
GAYLE SHAY, Associate Professor of Voice; Director of Vanderbilt Opera
Theatre
B.A. (Luther 1986); M.M. (Maryland 1990); D.M.A. (Colorado
1998) [1998]
MICHAEL K. SLAYTON, Associate Professor of Composition and Theory
B.A. (Lipscomb 1994); M.M., D.M.A. (Houston 1996, 2000) [1999]
CARL F. SMITH, JR., Senior Lecturer in Music Composition and Theory
B.M. (Baldwin-Wallace 1971); M.M. (Washington University 1975) [1998]
CAROL F. SMITH, Senior Artist Teacher of Suzuki Violin; Director of the
Suzuki Program
M.A.T. (Washington University 1975) [1997]
GAVIN SMITH, Lecturer in Teacher Education
B.M. (Texas Tech University 2002); M.M. (Kansas State 2007) [2008]
DENIS SOLEE, Adjunct Instructor in Jazz Saxophone
[2006]
ROGER A. SPENCER, Adjunct Artist Teacher of Jazz Ensemble
B.M.Ed. (Indiana State 1974) [2002]
BOBBY G. TAYLOR, Professor of Oboe, Emeritus
B.M.E. (Louisville 1962) [1969]
CHRISTIAN TEAL, Joseph Joachim Chair; Professor of Violin
B.M. (Indiana, Bloomington 1969); M.M. (Catholic University of
America 1971) [1972]
CELESTE H. TUTEN, Senior Artist Teacher of Suzuki Violin
B.M.E. (Peabody 1974); M.Ed. (Memphis State 1976) [1990]
BRIAN UTLEY, Adjunct Associate Professor of Saxophone
B.M. (Murray State 1995); M.M., D.M.A. (Louisiana State 1997,
2001) [2010]
MARY KATHRYN VANOSDALE, Adjunct Assistant Professor of Violin
Performers Certificate (Banff School of Fine Arts [Canada] 1982);
M.M. (Northern Illinois 1984) [1985]
Blair School of Music / Administration and Faculty
THOMAS E. VERRIER, Associate Professor and Director of Wind Studies;
Director of Teacher Education
B.M. (Ithaca 1987); M.M. (California State 1994); D.M.A. (Colorado
1998) [2002]
AMANDA VIRELLES, Adjunct Artist Teacher of Piano
Bachelor (Professional School of Music, Holguin [Cuba] 1986); M.F.A.
(Russian State Academy of Music 1993); M.M., D.M.A. (Southern
Mississippi 2006, 2008) [2010]
PATSY WADE, Adjunct Artist Teacher of Piano
B.M. (Birmingham-Southern 1971); M.M. (Peabody 1972) [1998]
MARK WAIT, Martha Rivers Ingram Deans Chair; Professor of Music
and Dean of the Blair School of Music
B.M. (Wichita State 1971); M.M. (Kansas State 1973); D.M.A. (Johns
Hopkins 1976) [1993]
DEANNA WALKER, Adjunct Artist Teacher of Piano
B.M. (Eastern New Mexico, Roswell 1986); M.M. (Johns Hopkins
1988) [1998]
FELIX WANG, Associate Professor of Cello
B.M. (Johns Hopkins 1991); M.M. (New England Conservatory 1992);
D.M.A. (Michigan 1998) [1999]
GLEN WANNER, Adjunct Assistant Professor of Bass
B.M. (Southern California 1986); M.M. (New England Conservatory
1988) [1994]
ALISON WARFORD, Adjunct Artist Teacher of Chorus
B.A. (Oklahoma Baptist 1985); M.Div. (Southern Baptist Theological
Seminary 1988); M.A. (Vanderbilt 2002) [2008]
ROGER WIESMEYER, Adjunct Associate Professor of Oboe
B.M. (Curtis Institute of Music 1987) [2002]
WILLIAM G. WIGGINS, Associate Professor of Percussion
B.S. (Peabody 1968); M.M. (Northwestern 1989) [1973]
MATT WILDER, Lecturer in Music
[2003]
ANNE H. WILLIAMS, Adjunct Senior Artist Teacher of Suzuki Cello
B.M. (Kentucky, Lexington 1965); M.A. (Indiana [Pennsylvania]
1972) [1986]
DAVID BINNS WILLIAMS, Senior Lecturer in Musicianship and Choral
Studies
B.M., M.M. (Indiana, Bloomington 1993, 1995); M.M. (Cincinnati
2000) [1995]
JEREMY WILSON, Associate Professor of Trombone
B.M. (Tennessee 2005); M.M. (North Texas 2011) [2012]

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Music Literature/History. hours.

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